Setting The Record Straight On Pandora

This was a red-letter week for internet radio and Pandora.  They had a successful IPO and, while the stock is trading below its offering price, much of that may be attributed to the market in general.  I wrote a blog post for Gigaom on the Pandora story and their road to IPO.  I was then interviewed on Bloomberg on the day of their IPO.  It had been a while since I'd done a TV interview and there were many points I wanted to make but couldn't in the time allotted to me.  The TV interview lacked nuance – for instance, they positioned me as someone who had single-handedly 'rescued' Live365 and driven them to profitability.  So I'll use this forum to 'set the record straight' on some things:

  • I am big admirer of what Pandora and their team have accomplished.  I separate the Company from the stock (which I thought was overvalued when I did the interview).  I couldn't agree more with what Om had to write on the journey undertaken for love, not money.
  • I didn't single-handedly, 'heroically' rescue Live365.  It was a team effort and I would like to think that I played a large part.  While it wasn't a big financial win for me, helping right the boat and turn it around in the aftermath of the dot-com bust is one of my proudest professional accomplishments.
  • There is a bullish story for Pandora as well if they can increase their audio advertising take-up, tap into local ad $, continue their growth in mobile, go into premium programming, etc.  Their management team have proven themselves before.
  • I think Pandora is weak in some areas, notably on the social side.  I'm biased here – I'm an advisor and investor in 8tracks.com, which is going at it from a much more social angle.  
  • There is a bullish story for Pandora as well if they can increase their audio advertising take-up, tap into local ad $, continue their growth in mobile, go into premium programming, etc.  Their management team have proven themselves before.

At the end of the day, Pandora's IPO, as long as they don't crater as a public company, is good for the medium to further legitimize it in the advertising community and I hope Pandora's 'tide' lifts the other boats.  I'll be watching with interest.

EMI’s New Strategy

Long piece in Wired about EMI's new CEO, Roger Faxon, and their new strategy to become a "comprehensive rights management company".  It doesn't quite roll off the tongue but it makes lots of sense.  Two years ago, I'd advocated that they give up on trying to sign and break new music and instead focus on monetizing catalogue, which they have a proven track record in.  They're not going that far – they still state that they're going to sign new artists – but they seem to be focusing on acquiring and managing various types of artist rights.  Makes a lot of sense to me as long as they have the talent and expertise to be able to properly exploit the rights they acquire.

The Redemption of John Forte

I subscribe to the WXPN World Cafe podcast and just finished listening to the one about John Forte.  Like their other shows, they intersperse interviews between songs that the artist performs live.  This one was particularly fascinating because John has quite the story to tell, which he does in equal measures of eloquence and wit in the interview. 

To sum up: boy from Brooklyn raised by single mom gets scholarship to Exeter. Gets into music/A&R. Ends up producing & rapping on Fugees' The Score multi-platinum record. Makes lots of money. Spends it. Dropped by label. Gets into drug dealing to earn money.  Gets caught, sentenced to 14 years. Sentence commuted by Pres Bush thanks to Carly Simon & Orrin Hatch.  Now performing music, teaching & working with prisoners' charities.

I remember hearing about Pres. Bush commuting his sentence and thinking that it wasn't right for someone to not pay their dues because of their celebrity.   I was wrong.  Taught me a lesson of not judging without knowing the facts.  There is no doubt about his guild however he's certainly contributing a lot more to society outside of prison than locked up.  I hope he continues to make great music.

Creating A Content Business Online: The Song Remains The Same

I recently spoke to someone looking into starting an online content venture.  He has an idea for a video/podcast series that would fulfill a gap in the market.  He comes from a 'traditional media' and production background and had questions on the monetization front.  To boil it down, he has 3 options:

  1. Charge users: Given the type of content, this is unrealistic although there could be incremental revenue to be had via mobile and download distribution.  But it would be incremental at best.
  2. Get sponsors to underwrite it: It's a concept that would do well in a sponsorship format.  The trick here is to get the sponsor.  It is tough to do so if one has no relationships, no audience (remember, this is in concept phase) and no track record in getting an audience.  He is very credible on the content front so advertisers would have no doubt on the quality of the content, but how would a sponsor know how much and what kind of audience they would reach?  Some sites sell content sponsorships on spec but these tend to have established relationships and a track record established their credibility.
  3. Sell/license concept to distributor:  Like most production companies, he could bring in a distributor – everyone from a tv broadcaster to a portal like myspace or aol – to fund the production and, depending on the terms, license it outright or share risk/upside. 

Realistically, #2 will only work if he can somehow bootstrap his concept into life and prove the ability to attract traffic – no easy proposition.  So #3 may be the more feasible option for him, especially if he can retain control over brand, drive traffic to his site and share upside.  The good news is that, unlike 4 or 5 years ago, production costs have plummeted and technology is no longer a barrier to distribution.  But, in some ways, that makes it harder to build a business and be heard through the noise.  Companies/sites like Break, FunnorDie, NextNew and others are starting to figure it out.  I think companies that produce great content will continue to get rewarded but the dynamic will be different, which may be fodder for another post.

Two Great Broadband Music Video Shows

I just came across two great Web-only music video series:

Black Cab Sessions:  They get artists to do a song in the back of a London black cab, often after they've just played a gig.  It's great to see artists like Lykke Li and The Walkmen in such a stripped down form. I like the touch of having the cabbie do the intro.

The Takeaway Shows:  In a similar vein to the Black Cab Sessions, and in their own words: "Every week, we invite an artist or a band to play in the streets, in
a bar, a park, or even in a flat or in an elevator, and we film the
whole session. Of course, what makes the beauty of it is all the little
incidents, hesitations, and crazy stuff happening unexpectingly.
Besides, we do not edit the videos so they look perfectly flawless,
instead we keep the raw sound of the surroundings. Our goal is to try
and capture instants, film the music just like it happens, without
preparation, without tricks. Spontaneity is the keyword.

The Take away shows exist since April 2006. There was Chryde, who
wanted to shake things up and find another way to share music, and
there was Vincent Moon, who wanted to film music differently. Chryde
offered Moon to go and film musicians in the city, Moon seized the idea
and glorified it. Since then, other directors across the world joined
this project, and we plan to extend it worldwide."

I love seeing bands up close and stripped down.   In the case of the latter, I like the story behind the shoot that accompanies every post and the unguarded moments – like Zach Condon of Beirut walking the streets of Paris.  The Sigur Ros performance in the Paris cafe is surreal and spectacular.  This is what the Internet video is all about.

[Hat tip to my gigmate Lisa for pointing these out to me.]

 

Trade Publication 2.0

I was catching up with a friend today who writes a well-known blog in his particular industry.  The blog has been a 'loss leader' for his other activities such as consulting, but he is now thinking of turning into a proper media property.  This has been pioneered by Rafat, Om, Mike and many others, who have been creating "Trade Publication 2.0" marked by first curating and then breaking industry news while also having a distinct editorial voice.  From what the competition sounds like, my friend has a real opportunity to build something valued by the industry.  I hope he goes for it.

Performance Royalty For US Terrestrial Radio Is Only Fair

There are hearings on Congress on whether terrestrial radio should pay a performance royalty for the music they play.  They have not had to do so, unlike the radio industries in other parts of the world, for historical reasons.  The music industry has been lobbying to right this decades-long wrong and their arguments seem to have sympathetic ears in Congress notwithstanding the political capital of the NAB.  I'm not always sympathetic to the arguments of the labels but, in this case, I am. 

Quite simply, I don't think US terrestrial has a leg to stand on.  They claim that they serve a promotional role for the music they play and that they should therefore be exempt (while internet & satellite radio isn't).  As Billy Corgan testified, there is no doubt that radio is a heavy promoter of music.  So what.  They are still using a copyright and the owner of the copyright ought to get paid for it, especially if their IP can be licensed on a statutory basis.  Their argument is absurd:  they pay Rush Limbaugh for his content and go after people that try to re-broadcast it but they won't do the same for the music they play.

It is time for this to be changed and I hope it happens.  It may well hasten the departure of music from FM radio but that would be a market decision.  In fact, some enterprising labels may calculate that they do indeed derive a greater promotional benefit and offer to waive the royalties for stations playing their repertoire.  But that should be the prerogative of the copyright holder. 

Recent Developments In Digital Music

I’ve been slow in posting of late as I’ve been crushed at work and had to deal with moving flats and all of the attendant logistics headaches, not to mention that I haven’t had internet access at home yet.  But there have certainly been some interesting developments in digital music and some quick thoughts on each:

  • Imeem opens up its platform.  This is different because they actually have the content.  It’s what the labels should be doing directly but Imeem is a proxy and, as rumor has it, at least some of the labels get some equity so participate from upside.  The rumors also have it that Imeem’s licensing rate is cost prohibitive.  If true, it will be hard to build a real business.  But it’s good that it’s now become easier to ask permission.
  • EMI hires a head of digital from Google.  Always good to have new blood when you’re industry is experiencing a rapid shift.
  • MySpace Music – a JV with the labels.  More details to come, and something I’ve known about for a while but, again, a good move by the labels to hedge their bets.  Sounds like it will compete directly with Imeem.

Interesting times.

The New Radio: A Changing Of The Guard

[This was just posted on GigaOm.  One of the comments cited Last.fm and Pandora as other 'radio 2.0' stalwarts.  I agree with that however they have more to do with personal enjoyment than 'breaking' new bands and artists.  I haven't heard about a high profile artist debuting their record on Pandora or Last.fm, and it would be a bit weird if it happened.  Anyways...]

For decades radio and later, MTV, were the dominant and proven
marketing channels for the music industry. The symbiosis was, on its
face, an elegant one: Radio and video promoted the product for free/fee,
retail outlets sold it, and everyone made gobs of money. Radio, while
still powerful, is no longer perceived as the vibrant marketing channel
for music it once was. MTV certainly isn’t.

They’ve been replaced by the web — in particular, by social
networking communities and blogs. This is Radio 2.0. While I don’t blog
about music as much as I’d like, I still get pitched very regularly by
music promotion companies on new music. I can only imagine how much
music blogs like Pitchfork, Brooklyn Vegan and bloggers like Fred Wilson get pitched.  Moreover, the labels are embracing social networks as a new channel — the EMI/Sigur Ros/YouTube and Warner Bros/REM/iMeemiLike
tie-ups are cases in point. Of course Clear Channel and MTV (outside of
the U.S, at least) will still get plenty of world premieres, but I
suspect this will decrease as MP3 blogs and social networks continue to
gain relevance and audiences.

“Tell me something I don’t know,” you may sigh. Well, it’s unclear
that these sites actually generate commerce revenue the way traditional
marketing channels have. If that continues to be the case, then the
artists and labels will have to figure out how to get a big enough
piece of advertising and other revenue streams to warrant “giving”
their content to these new channels. Regardless, we are seeing a
changing of the guard: Maybe Pitchfork founder Ryan Schreiber is the
new Jann Wenner; Ali Partovi or Dalton Caldwell, the new Bob Pittman.

Stuff I’ve Been Listening To / Gigs I’m Going To

On rotation in the iPod:

The National, Boxer.  My bro got me into them and each listen does indeed make me like them more.  Definitely worth getting.

Vampire Weekend, Vampire Weekend.  They’ve taken the indie world by storm with accompanying backlash.  I like their sound and have yet to tire of it.

I’ve also got Jens Lekman and Yeasayer cued up but they’ve yet to hit the rotation.

Recently purchased tix to gigs:

Mayra Andrade this Sunday at the Barbican

Vampire Weekend in May

YoYo Ma in December

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