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The New News – Monetising journalism today
“What the Internet has done is made a million sources of information available. It’s only a click away… The Internet has disrupted many industries. The newspaper business has been destroyed. It’s beginning to happen, arguably, to television. Consumer behaviour is changing!”
– Henry Blodget, editor-in-chief, Business Insider
Great minds may think alike, but they’re now consuming media on a plethora of different devices. Legacy media companies have been struggling in recent years to protect old revenue streams as the onslaught of digital disruption has rendered previous business models less than adequate. Recently, though, there have been signs of hope.
In television, Hulu and Netflix are increasingly showing themselves to be lifesavers of the long-format viewing, in an era where we are being increasingly distracted with short-term fixes, evinced by the success of social gaming product from companies like King. Hulu added 1 million paying subscribers in Q1 of this year and streamed over a billion videos. Netflix, after bravely investing in producing its own content with House of Cards, recently reported it has already recouped the sizeable $100m investment it made in the first season. It’s interesting, reassuring and quite logical to note the news that when Netflix enters a new market, piracy in the region drops. Let’s hope that legacy media companies are finally recognising the oblique connection here (and ponder less the millions of dollars lost over the years to pirated content at the expense of no legitimate alternatives). Though Borders has disappeared and Barnes & Noble may be in trouble, the book business is doing well, with 2012 being a “record year” for the industry. Digital downloads were up 66%, with physical purchases down only 1%. In music, the industry is slowly embracing a future (now very much a present) that has been staring them in the face since the start of the century with Napster and its myrmidons; digital sales rose 9% last year, helping overall sales to rise for the first time in a decade (see The Economist’s chart below). In South Korea, a region traditionally awash with pirated content, startup KKBox has come up with innovative ways to get people to pay for music again. They emphasise a sense of community – much like the one users felt they belonged to on Napster – bringing subscribers “closer to the regional music scene… Users can listen in real time as music celebrities make playlists of their favourite songs. There is also a KKBox print magazine and an annual awards show and concert, and it sponsors regional music festivals”. In other words, the offering goes beyond simply providing product to be streamed; it creates a cohesive world around the product.
In 2012, music industry sales held steady for the first time in years. Digital sales continued to grow.
This cohesive world is in vogue at the moment; it represents most business justifications for investment in social media, and on a granular level again for investing in multiple networks, be they Facebook, Twitter, Pinterest, etc. This cohesiveness also allows for the exploitation of new revenue streams, something we’ve written about before. It’s a point that’s recognised by those in the newspaper industry. David Carey, head of the Hearst Magazines empire, has stated unequivocally that today “you need five or six revenue streams to make the business really successful”. It’s why companies like Monocle, which produces a high-end cultural magazine, has started a radio service that has been “profitable from the start, since normal commercial radio stations never deliver the kinds of listeners its high-end advertisers want”. And as advertising revenue dips below subscriber revenue, as it did recently at The New York Times and will do if it has not done so already at the Financial Times (FT), these new business models need to be set up and utilised, fast.
These discussions and others were up for debate at an event two weeks ago, hosted by the Media Society at the offices of the FT, examining the effects and implications of digital disruption. On a macro level, the problem has been with trying to get people to value content that is no longer physical. From the looks of it – not least from the evidence above -this is broadly starting to be achieved in the music, book and television industries. The problem, according to Laurie Benson, formerly of Bloomberg, was that the newspaper and magazine publishers took the genie out of the bottle, and “panicked”. For, unlike television content producers that seemingly buried their hand in the sand, those in the newspaper business immediately shoved all their content online, for free, in an effort / vain hope that advertising would continue to provide. Nic Newman, who spearheaded the BBC iPlayer initiative, said companies were still fundamentally struggling with mobile, which is especially important now it is considered “the first screen”. Moreover, social media, as well as providing an opportunity to construct a cohesive environment for the product being sold, has also, said Nic, hugely changed the way we find and discover news. The irony of his statement, given at the headquarters of the Financial Times, a paper with arguably the most opaque paywall in the industry – and with a zero-sum Facebook strategy – was not lost on Zeitgeist. On that note, Rob Grimshaw, managing director of FT.com, spoke up, saying he was “very comfortable” with the paywall as it currently was. He admitted he was “worried” about what Twitter would do to their model (the tense should perhaps be what it is doing). Rob mentioned Forbes, which is now allowing direct outside contribution. This obviously makes the platform somewhat more exciting, and certainly more accessible. But what does Forbes mean now as a publication; what is their editorial position, asked Rob. Though many interesting questions were posed, answers were few and far between at the conference, and few initiatives were proposed.
On a more granular level, what are businesses doing now to try and maximise revenue in print? We’ve discussed recommendations for print media before. Unsurprisingly, some of the more innovative – and perhaps controversial – models are coming from those publications outside the mainstream. Business Insider, and Vice, are two such examples. Insights into both publications (although defining these companies as only publications perhaps limits the perception of their offering) were covered in the same issue of The New Yorker last month.
Ken Auletta’s article about Business Insider, and its “disgraced Wall Street analyst”-turned editor, Henry Blodget, states that the blog “draws twenty-four million unique monthly users, more than CNBC”. Overhead is one clearly one of the main areas that such companies have over their legacy rivals, whose roots are in ink and paper; Business Insider could never hope to, nor would they wish to have 1,700 full-time staff, as the WSJ does. One of the innovative, intriguing and controversial things about the editorial of BI is it’s blending of hard news – “7 signs household finances are getting stronger” – with more off-the-wall, attention-grabbing, low-brow content – “3 teeth-whitening products that actually work”, “Here’s what NBA players looked like before they had stylists” and “The porn industry has already dreamed up some awesome ideas for Google Glass“. Blodget, who continues to write many stories himself, is seemingly as comfortable writing about budget-cliff negotiations with an accompanying eighteen charts, as he is writing about the experience of flying home economy class from Davos. Andrew Leonard, on Salon, called the latter “the stupidest article to be posted to the Internet in the year 2013 – and possibly the entire century”. The content may have indeed been questionable, but it’s part of an interesting strategy to cater to multiple mindsets of the same audience; Blodget says he wants to “put the fun back into business“. The New Yorker article describes how BI produces original content through research, including how Goldman Sachs lost the chance to be the lead under-writer in Facebook’s IPO, and questioning whether previously undisclosed emails showed that Zuckerberg really had stolen the idea for Facebook from the Winklevoss twins. A lot of the time though, BI links to reported news “and then adds its own commentary, as well as reactions from others”, what Blodget calls “halfways between broadcast and print… it’s conversational”. It’s also unquestionably lazy, but provocative, which is what – along with many slideshows, with each slide on a different page – earn the blog so many clicks. 85% of BI revenue comes from advertising, a dangerous ploy in a time when rates and interest in online platforms are either slipping or more generally failing to account for costs. Most of the rest of the pie comes from paid conferences, something that other publications – incumbent or otherwise – should take note of. People pay with their time, and sometimes money, for your expertise and opinion, so expanding this engagement into other adjacent opportunities is a wise move. To this point, the company has also hired analysts to create research reports on telco trends. The New Yorker comments, “The result is something like a private magazine that several thousand individuals and businesses receive, for $299 a year”. Other companies are experimenting with various monetisation methods. Andrew Sullivan’s publication The Dish is soon to be made subscriber-only, with no ads, as $20 a year. The good news is that people are starting to willingly pay for other digital content, such as books, music and film. But aside from BI’s small subscriber-based research section of the site – an exception on blogs – the greater worry is what the type of engagement we have with content online means for the type of content that is produced in order to cater for those tastes. Are we reaching the end of an era of nuance? The New Yorker again,
“Lengthy investigative pieces are rare on all-digital platforms. They are expensive to produce and, given a readership that has an average of four minutes to spare, not likely to attract a large audience. As economically beleaguered newspapers invest less in long-form reporting, digital publications are unlikely to invest more.”
Journalism for Vice means creating content to be reported on, rather than simply reacting to developing news
Lizzie Widdicombe’s article on Vice magazine shows there is far more innovation to be developed in the publishing industry, as long as one is willing to stop thinking of oneself as publisher. Vice is by no-means an upstart, at least in the magazine world, but recently found itself on the global stage after having the sheer tenacity to organise Dennis Rodman to go to North Korea for an exhibition basketball game, sitting alongside the Dear Leader himself Kim Jong Un. The story ran with the headline, “North Korea has a friend in Dennis Rodman and Vice”. Immediately we see the lines between reportage and editorial, between analysing events and creating them, begin to blur considerably. The headline looked particularly careless when shortly after the ‘basketball diplomacy’, North Korea “scrapped its 1953 armistice with South Korea and threatened preemptive nuclear attack on the United States”. The Vice article detailed the “epic feast” they were treated to, which again seemed callous given the generational malnutrition that has led to stunted growth in the North Korean population. Journalism stalwart Dan Rather called the whole episode “more Jackass than journalism”. This is a very different type of journalism indeed. The company has 35 offices in 18 countries, with websites, book and film divisions as well as an in-house ad agency. Since 2002 it has operated a record label with albums from the likes of Bloc Party. The New Yorker article says “these ventures are united by Vice’s ambitions to becomes a kind of global MTV on steroids, [but] unlike MTV – which broadcasts a monolithic American vision of youth culture – [the international aim is] to ‘localise’ their sensibility”. According to Shane Smith, Vice’s CEO, ‘The overall aim, the overall goal is to be the largest network for young people in the world… to make content that young people actually give a shit about'”. Vice employees sometimes refer to the brand as “the Time Warner of the streets”.
It has made significant forays into video, with a channel on YouTube that attracts more than a million subscribers. Like Business Insider, Vice also blends the highbrow with the lowbrow in terms of content. On YouTube, the New Yorker reports, videos range from ‘In Saddam’s Shadow: 10 Years After the Invasion’, to ‘Donkey Sex: The Most Bizarre Tradition’. The company’s revenues are estimated at $175m for 2012. In 2011, Vice was valued at $200m, “and last year Forbes speculated that the company might someday be worth as much as a billion dollars“. Its newest venture is a show on HBO (owned by Time Warner), with the tagline ‘News from the edge’. The show “takes on subjects from political assassinations in the Philippines to India’s nuclear standoff with Pakistan”. It engages in what it calls ‘immersionism’, where Vice employees are sent out to these locations and more or less told to engage in practices of varying degrees of danger. The New Yorker says this type of reporting harkens back to that of Hunter S. Thompson, who pioneered “participatory journalism… Vice claims to have a similar objective. Introductions to the HBO series announce that it’s out to examine ‘the absurdity of the human condition'”. One of the reasons companies like Time Warner, News Corp (see image below) and Conde Nast have all made the pilgrimage to Vice’s offices in Brooklyn is that they are all terribly envious of the way the company has managed to engage and monetise their audience. As well as the HBO show, Vice also create supplementary material fro HBO.com that shows how the show was made. Its Internet presence is diverse, and this is where the multiple revenue streams and advertising opportunities come in, as The New Yorker elaborates,
“Web sites, including Vice.com; an ad network; and its YouTube channel… Vice makes more than 85% of its revenue online, much of it through sponsored content… Besides selling banner displays and short ads that play before its videos, Vice offers it advertisers the option of funding an entire project in exchange for being listed as co-creator and having editorial input. Advertisers can pay for a single video, or, for a higher price – $1-5m for twelve episodes… – they can pay for an entire series, on a topic that dovetails with the company’s image… At the highest end of the sponsorship spectrum are [content] verticals, in which companies can sponsor entire websites.”
North Face, for example, partnered with Vice to sponsor ‘Far Out’, where Vice employees visited “the most remote places on Earth”. CNN is attempting similar feats, in an effort to legitimise the partnership – for example with Jaeger Le Coultre – by producing content that has a connection with company’s brand values. Some of Vice’s content verticals are softer than others, so that they can be more advertiser-friendly. It is seen by some at Vice of returning to the original soap opera days, when P&G would sponsor a serial show. This has led to some longtime fans declaring the publication has become too safe – gone are the early magazine covers featuring lines of cocaine, for example. The New Yorker comments the result “can feel like a strange beast, neither advertising nor regular content but something in between”. Vice also have a Creators Project, “devoted to the intersection of art and technology”. They partnered with Intel, and content has included an article on a cinema hackathon, as well as an event where a non-profit and VFX company partnered with techies to develop new forms of “interactive storytelling”. Intel sponsored the event, the video of the event, the blog post and the entire Creators Project website. Over three years, the company has paid Vice “tens of millions of dollars annually… to fund and publicise similar projects”. It is part of Intel’s attempt to have itself perceived as more of an experience brand, a la Disney and Apple. Said the CMO, “We want to see Intel coverage in Vanity Fair and Rolling Stone“. The video of the event is also put in YouTube, a company that is “crucial to Vice’s ability to expand” and which two years ago began paying Vice to make shows as part of a broader strategy to upend traditional TV – seen elsewhere in their recent Comedy Week. Such efforts from Vice form a feedback loop of good news that encourages investment from other individuals (such as former media mogul Tom Freston) and companies (such as Raine Group and advertising conglomerate WPP, a former employer of Zeitgeist). Vice is also planning a global, 24-hour news channel. Smith told The New Yorker, “Let’s say, hypothetically, you become the default source for news on YouTube. You get billions of video views, WPP monetises it. Then you are the next CNN“. This would be a dramatic shift in the way it makes its money now, from those sponsorships mentioned earlier. Quixotic efforts such as the North Korea trip, as well a recent bungling of a story on John McAfee, on the run from police, where Vice inadvertently gave his location away, would have to be curtailed. “If Vice does become a global news network, it might have to rethink some aspects of its prankster approach to reporting”.
Murdoch and other CEOs have much to learn from Vice’s business model
It’s becoming abundantly clear then that what news publishers need to do to survive is embrace a diversity of platforms. This will be a long road for legacy incumbents. The FT now produces a great deal of video content, but it is still largely lost on the app and on the website. There is no hub where videos are categorised in any way. Few if any publications allow someone, upon purchasing a hard copy of the newspaper / magazine, to have access to that same content online, if only temporarily. These are simple but fundamental things that companies like this must do if they want to present their audience with a cohesive experience. That’s about operations and user experience. From a content perspective, journalism also faces new challenges. Fareed Zakaria, who Zeitgeist has been an avid reader of since the reporter’s days writing for Newsweek International, says Vice’s TV show for HBO has “loosened the format” of television reporting, as it tries “to get a news audience interested in the world”.
What are the implications of such a loosening? Vice CEO Shane Smith defended the company’s North Korea trip to The New Yorker, going on to say, “Is it journalism? It depends on what the definition of journalism is”. Um, well, yes, quite. If we’re to maintain any distinction between content that is supported and promoted by advertising, editorial that has a particular bent, and unbiased news rather than sensationalist reportage, we need to start having a serious conversation about what journalism is. In particular we need to discuss what the balance is between the desire to entertain and the task of informing the populace. If the onus is truly on the latter, then it becomes a genuine public good that must, at worst, be subsidised by public money. The issue The New Yorker raises in its article on Business Insider crystallises the dilemma; the medium in which people consume news has changed, thus so have their habits. They are now less likely to dedicate time to reading long articles; so writing these kind of articles is increasingly an unprofitable exercise. An end to thorough investigative journalism would surely have dire consequences. While fears over the death of journalism have been greatly exaggerated, a dramatic shift is underway, and perhaps for the worse. And that’s true no matter what your definition of journalism is.
Up in smoke: Trends in buying movies and content ownership
Like the main protagonist in The Artist, film audiences are increasingly falling out of love with physical film. A recent IHS Screen Digest webinar presented some interesting notes on home entertainment trends around the world. Most of it was far from good news for media companies.
Emerging markets are where a lot of industries are currently looking to for growth, from WPP to the Catholic church. The film industry is seeing growth here, too. China, which last year relaxed its quota on the number of foreign films it allows into the market every year, has seen record box office takings of late, with the release of Titanic being a major highlight. Russia, too, is seeing a new audience for film. On a macro level, countries like India and Brazil are seeing a significant growth in the middle classes. In other words, a group of consumers that has a larger amount of discretionary spending. Some of this spending will be allocated to home entertainment, in the form of video players, be they DVD or Blu-ray. However, this jars with the global decline in physical media spend, as viewers switch in droves to streaming platforms like Netflix and Amazon’s Lovefilm. Data from the IHS webinar revealed that the global growth in video players will not serve to offset the decline of spend on physical media.
As well as shifting from hard copy to soft copy products, consumers are also beginning to show a marked preference for renting over owning. This trend extends far beyond the film industry of course. Companies like Spotify spearheaded the idea in the music industry, the phrase “access trumps ownership” has long been a mantra there. The philosophy is affecting many lifestyle aspects, as demonstrated by The Economist’s recent front cover article. In Western Europe, rental is now the transactional consumption choice for digital movies. IHS data reported that the average US citizen rented 5.3 films last year. The company predicted that revenue from rentals will go up, returning to where they were in 2009, but in large part only because rental prices will go up. Dovetailing with the increasing consumer reluctance to buy physical discs is that the medium also appears “less and less attractive” for retailers. Blu-ray, which was supposed to revive the disc format, has not taken off in the way that was hoped; IHS data showed most Blu-ray owners still purchase a lot of movies on DVD rather than paying a premium for the HD version.
The move from physical to digital formats is troubling to media companies because, IHS report, “transactional online movie spending will not reach levels of physical spend” anytime soon. Indeed, theatrical is predicted to take up an ever larger slice of the pie (see above). This is without considering relative externalities, such as piracy, which remains a huge problem in Asia. And while consumer spending on online movies will almost double in AsPac, the share in wider consumer spending on movies in the region will not move beyond the current share before 2016.
One solace could be found in cinemas, a special haven for a medium without distractions, providing ample opportunity to leverage some of the more irrational desires and behaviours of consumers. We wrote briefly about various opportunities recently, and it’s reassuring to see the news earlier this month that Digital Cinema Media in the UK, an advertising sales house jointly owned by Odeon and Cineworld, will “in the coming months” launch a mobile app that will attempt to track cinema visits in order to feed data back to advertisers. In return, audiences will get exclusive content, vouchers or free ice cream. Given that the cinema is surely one of the few areas where you can pretty much guarantee a captive audience, this sounds like a great idea. How much it will offset lost revenues from home entertainment though remains an open question.
UPDATE (30/4/13): Data gathered can sometimes be misleading of course because it fails to report things that are not being measured. Such is the case with the current trend, recently reported by The New York Times, of sharing multi-platform viewing accounts for products like HBO Go among friends and even strangers. This trend represents a threat to revenue, but also an opportunity to create further loyalty, if used wisely. Forbes questioned the legality of such activity in a follow-up article.
Ejecting
As Zeitgeist splits itself down the middle to search for new opportunities, it seemed fitting to show the following video, illustrating the integrity we must keep within ourselves if we are to be part of successful advertising agencies. I leave behind “the lonely man”, and no small thanks to him.
Chinese Whispers in London – Chinese brands in the UK
Charles de Gaulle once commented, “China is a big country, inhabited by many Chinese.” As astute as this observation was (and is), it was hoped that a trip that Zeitgeist paid to London’s Victoria and Albert Museum ten days ago, entitled ‘Going Global: Advertising Works UK China 2010’, might provide a little more insight. The Institute of Practitioners in Advertising described the morning as,
A conference in association with UKTI and linked to London Design Festival looking at the value of advertising and how the UK can act as a creative hub to Chinese brands seeking to go global.
Hosted by the IPA, the conference involved talks from a series from numerous luminaries from Ogilvy, BBH, McCann Erickson and JWT. Our emcee for the morning, IPA Director of Marketing Ms Janet Hull, noted that the UK was the fourth largest market in the world for ad expenditure. Ms Hull also talked about the increasing interaction between UK and China advertising; senior BBH and M&C Saatchi people have been on IPA visits throughout China over the past 18 months.
The great Rory Sutherland (whom Zeitgeist has mentioned in previous articles on behavioural economics and neuromarketing) was next up, speaking in an introductory manner to the morning’s proceedings, stressing that “value is subjective”, that it is created at the point of consumption. Added value exists mostly in the mind, he went on, not in the physical atrributes – “the atoms” of your product. He gave luxury brands as an example of this. He also pointed out that China currently has six brands in the top 100 (six years ago they only had one), according to WPP’s BrandZ survey (which Zeitgeist played a small part in helping develop). He foresees many more Chinese brands entering this pantheon in the next few years. One of those brands is China Mobile, and it was the Chief Representative of this company, Henry Ge, who would speak next.
Launched in 1995, China Mobile is now a $53bn brand. A recent survey conducted revealed 74% customer satisfaction with the brand, higher than any landline or mobile provider in the US. Curiously, not only do they have a very high loyalty rate, they also have a very high return rate, suggesting that perhaps of those who do leave, most will come back. Mr. Ge talked next about brand strategy, talking about how the company offered different plans (divided by pricing, services and rewards) in order to exploit customer segementation, while also seeking differentiation from competition and pricing for sustainable growth. Also of interest was to hear the development of the brand’s USP over the last ten years. In 2000, the brand’s selling point was coverage. In 2010, it’s platform, referring to Apple’s iPhone and Google’s Android OS, as well as more specifically mobile shops and apps. The future? Well, according to Mr. Ge, the future is all about experience, putting the consumer in control. Nothing new you might think; it will depend on how China Mobile and others execute this. It gels well with a recent article in the New York Times which stated “spending money for an experience… produces longer-lasting satisfaction than spending money on plain old stuff”. Of course, as a company comprised principally of engineers, Mr. Ge confessed that those at China Mobile would be understandably nervous about such a shift in power.
Orlando Hooper-Greenhill, Director of Global Planning at JWT spoke next on HSBC, aka Hong Kong Shanghai Banking Corporation, set up in 1865. Any regular traveller would be able to tell you of the bank’s perpetual presence on “jet bridges” – the bits linking the airport to the plane – the idea behind which, Orlando stated, was to say goodbye to you as you left one country, and for it to be the first thing that says hello in a new country. HSBC’s proposition rests on the suggestion that even though their offices are spread the world over, they still provide superior service through their local knowledge. This was exemplified when Orlando showed the room two TV ads for HSBC, one from the US and one from China. Zeitgeist has had a terrible time tracking down the Chinese ad, and at the time of publication Orlando hadn’t responded to our request for where we could get our hands on a copy to post here. Needless to say the ads demonstrated an insight into each audience that it was targeting more than simply laying its cards on the table as to what services the bank could provide. He also presented the audience with a fascinating graphic, which Zeitgeist did manage to track down, see below. It puts into context just what a large audience is waiting out there for your advertising messages (albeit an audience with some maturing to do still).
Next up was Li Fangwu, Assistant Secretary General of the China Advertising Association. He began by mentioning that it was in 1978 when the ad industry as we know it (or don’t) today was “restored”, presumably as part of the Beijing Spring, currently with 170,000 agencies and over a million employees, which is quite staggering. However, Mr. Fangwu was forthcoming as he showed that year-on-year advertising turnover had declined since 2005, which made Zeitgeist realise that China is not completely immune to the effects of a recession. Most amazing was the advertising law dating from 1994, currently under revision. The levels of bureaucracy involved in getting advertisements legally processed was stupefying. Hopefully the blurry pictures below of the numerous government bodies needed to rubber-stamp their approval of a campaign gives an impression of the dizzying complexity currently involved. The word ‘byzantine’ comes to mind.
Nick Blunden of Profero was up next, who spent part of the beginning of the conference polishing up his presentation sat on the row in front of Zeitgeist and a colleague. Mr. Blunden was full to the brim with interesting, topical statistics proving the oft-proved power of the Internet etc. One of the more interesting stats was that smartphone handsets will find their way into the hands of 250m pairs of hands this year, quite a figure. Among some of the more innovative and intriguing case studies he mentioned were Pepsi’s superb Refresh campaign, Lufthansa’s MySkyStatus and Diageo’s Windsor campaign in Korea. Last but certainly not least was Chris Macdonald, CEO of McCann Erickson did his best to convince Zeitgeist that he shouldn’t shoot off to the Cote d’Azur when the Olympics (and the unwashed masses in their millions) descend upon London in 2012. An informative talk all round, and surely but a taste of things to come as China’s sphere of influence grows.
Visiting Google HQ
On Monday morning, fully half the Zeitgeist team awoke from its slumber, left its abode and walked the 15-minute walk to Mecca. While not a dedicated fanboy, the integral part this company has played in the evolution of the Internet over the past decade, (Zeitgeist first remembers using their search engine in 1999), is undeniable. The morning would be spent in the hallowed halls of Google HQ. Mobile advertising for the Android platform would be the focus.
After munching on a croissant, downing an Earl Grey and meandering past the ice cream delivery bicycle, Zeitgeist was talked at by Ian Carrington, Amanda Rosenberg, Reto Meier, Scott Seaborn from that indefatigable ad agency Ogilvy and from IconMobile; Steve Griffiths.
Given the high volume of iPhones-to-people ratio in the room, it was not best to start off the morning with a non-so-subtle jibe at the aforementioned device. However this was indeed how the morning started; these jibes became the sine qua non of the whole event. Given the current regulatory scrutiny Google’s search empire faces regarding Net Neutrality, any hubris around ‘open source’ might have also have been best kept checked, yet there it was. Those who persevered in their listening heard that 2010 was indeed the year of the mobile. For some it may have seemed like they had been stuck in an echo chamber; every year since at least 2005 has been deemed ‘the year of the mobile’, occasionally with the suffix “but this time it really is!”. Zeitgeist would not care to argue with the statement though, as finally consumer desire and the corporate technology to suit that desire seem to be approaching an optimum. Last Christmas, there was a sale on eBay through a mobile device every two seconds. We were told that “Everything Google do, we have a mobile version of”. Despite this poor syntax, this was an impressive statement; something simple and logical, but surely something that only a very small number of companies could lay claim to.
Google’s director of mobile advertising said that the company’s mantra when developing new products was now “mobile first”, again, an impressive affirmation when you really think about it. Currently there are fifty times as many searches performed on smartphones vs merely WAP-enabled handsets. So the iPhone, Android platform and its myrmidons are clearly providing a better user experience for consumers, that they in turn are utilising – though it will be interesting to see whether the soon-to-be-introduced data tariffs will have any impact on this. This may not be the year of the mobile, but it certainly is the year when futureproofing becomes a sound investment: In 2013, smartphone sales are predicted to overtake PC sales, which will coincide with mobile internet use overtaking desktop computer use. It’s quite plausible by then that such distinctions between types of computers will be even fuzzier than now, (iPhone, iPad, netbook, laptop, desktop) if not moot.
Google is currently in the throes of redesigning its Android application store, currently with 60,000 apps and growing (compared to Apple’s 250,000+). Apps are an interesting phenomenon. With Apple’s initial inception, they are now quite the hot item, the thing your client’s clamour after without knowing exactly why. Yet what service do they provide? According to the meeting yesterday, 95% of Apple’s apps are not used after twenty days. For Windows’ part, half of the ‘Marketplace for Mobile’ apps are made by Microsoft, suggesting they have some way to go before accruing a wide, collaborative audience. The utility of an app, it was suggested to the audience yesterday, could be one of two things; engagement or purchase. Your app is there to either enhance the brand (like Chanel or Dior) or to encourage purchase (Argos). Time, lack thereof and frequency are also a large contributing factor to an app’s use. Simply put, it would not be worth someone’s while to download the Expedia app to their phone in order to book a single flight. It would, however, be of use to a regular traveller.
The audience was later shown a graph showing mobile and desktop search queries throughout an average day, with troughs and peaks mirrored between the two systems. Google stated they were not sure whether mobile search had a cannabilisation effect on desktop search, and that they “don’t care”.
We were then treated to a presentation by Amanda who delved into the world of Android-capable handsets. This included voice search – asking the phone directly “What are the best restaurants for breakfast near Union Square in San Francisco?” led to a satisfying list of responses – and voice text; unfortunately punctuation is something that remains almost impossible to do by voice, currently. There was also an example of Google Goggles, which, as well as being able to identify a building from a picture taken by a user, can also scan hard copy text, translate it and then pronounce it for you. All of which, except for the semantics of context, was most impressive.
Scott Seaborn then stepped up to the plate, going through some interesting case studies of mobile advertising. Two in particular caught Zeitgeist’s eye. The first was the Seer app that IBM updated for this year’s Championships at Wimbledon. This interesting video from the somnambulistic “Click” show on the BBC details the amazing thing that OgilvyOne’s app can achieve. Also quite fun was the new Coke Zero iPhone app called The Cleaner, soon to be released.
Steve from WPP’s Iconmobile brought up some similarly interesting case studies. The first of which was for T-Mobile as it attempted to encourage paperless billing with a great mobile initiative that involved “green” perks. The other highlight was that of a North Face campaign in China, which won a Silver Lion at Cannes. An interesting co-incidence of brand and region, as most Chinese people are currently gravitating to an urban life, and do not traditionally treat hiking or mountain-climbing as a past-time.
We then heard more about the Android platform. 160k devices that support Android are activated daily now. One of the nicer features that Zeitgeist saw was the enablement of cross-app usage. A user could be browsing through nearby restaurants on one app. Upon finding the one they want and clicking on a button in the app to book a table, the user would then be taken straight to the OpenTable app, which would immediately display the available times and tables for the restaurant you were just looking at on a separate application. While convenient and a nice move, this does present a potential hindrance for advertisers if users begin to navigate through the web merely by going from proprietary app to app rather than using a browser where they would be exposed to more advertising.
Conversely, the expandable ads that will begin to appear on Android platforms while surfing looked great, especially for things like films (the example we saw was for Adam Sandler’s Funny People). Lastly, we saw the new ‘Navigation’ app, which is currently only available in the US. Its map system allowed for alerts to the user for nearby amenities on their chosen route, e.g. cinemas, restaurants, etc. Interestingly, it also allowed for sponsored layers, meaning advertisers could put specific flags down on the map for particular promotions, to encourage people to take advantage of en route to their final destination.
As for Google’s final destination? Well, we’ll save that for a future article.
Nintendo’s Nemesis & Evolution
“All is unceasing and rigorous competition in nature”, said the Marquis de Sade. Rivalries come and go, it is the victor who must with each success continue to innovate and ultimately change, enduring the onslaught of new competitors. Yahoo vs Google, Microsoft vs Google, WPP vs Google and more recently Apple vs Google and Apple vs Amazon vs Google; in similar circumstances, we have gone from Sega vs Nintendo, to Sony vs Nintendo, to Apple vs Nintendo.
Apple themselves have pushed beyond their preliminary battle with Microsoft to a place where they now court multiple rivals in all the different markets that they affect with products like iTunes, the App Store and Apple TV. Steve Jobs, in September last year, said that the iPod touch was being released with gamers in mind after having had much feedback from the public as to what they used the device for. This was part of the reason why the iPod touch was cameraless, unlike its smaller, cheaper cousin. Nintendo must have known it was only a matter of time until their paths would cross…
Zeitgeist has very fond memories of inadvertently reshaping the bones in his thumbs while playing the Mario Brothers trilogy for hours and hours back in the day. The Nintendo Entertainment System, their first console, was fantastically successful. Somewhere along the way, however, the company got a bit lost. The turnabout it managed thanks to the Wii (and to a lesser extent the DS) is extraordinary; Sony and Microsoft saw share of their respective PlayStation and X-box platforms gradually erode to give Nintendo a position of dominance, becoming the market leader less than a year after its launch; PSFK named it one of their top ten brands of 2010. In the last week though, Nintendo have reported an earnings drop – its first in four years – hurt by slow sales of the Wii and possibly effected by piracy as well, according to Le Monde. Just as Apple are encroaching on Nintendo’s sovereign territory, the reverse is also true, as Nintendo have been offering Netflix movie rentals for a while now. Will the DS soon be facing off against the iPhone, iPod and iPad? According to Le Monde, in 2008 Apple’s iPhone represented 5% of the gaming market, Nintendo 75%. Today the iPhone’s share is 19%, Nintendo’s 70%. It is the casual nature of its games that made the DS and Wii appeal to a market that other consoles never even considered. Now though, those casual gamers are equally at home playing on an app on their iPhone, as well as on Farmville on Facebook. Variety says, (emphasis added),
“More than 32 million people tend their virtual crops each day, and the game has a total user base of 80 million. That’s roughly seven times the number of people who play the online smash ‘World of Warcraft’.”
Of course, rivalries like this will become increasingly common in this sector, as technology platforms – what the great Lawrence Lessig calls “layers” – continue to converge, allowing for excellent, mutiple functionality on one product (look at the iPad as an example). Somewhat counterintuitively, customers may not readily embrace this convergence, as behavioural economics tells us that people put more trust in a product that performs one dedicated task well; they assume anything else will be somehow diluted. Neither Nintendo or Apple should fret, exciting times are ahead. There is speculation in the Le Monde article, among others, that Nintendo should take the fight to Apple by releasing its own phone. Zeitgeist would find that a real treat. Almost much as much of a treat as the original Japanese advert for Super Mario Bros. 3. Enjoy.
Walled Gardens
At the end of the 18th century, the Maharajas were rulers only in name. The British showered them with jewels and Western trappings (like Vuitton tea sets). Grand palaces were created for them, which in effect were nothing but beautiful prisons. Is today’s ultimate trapping – the Internet and its peripheries – any less of a beautiful prison?
A recent FT editorial details the evolution of Apple. 1977 saw the debut of the Apple II; “owners were confronted with a cryptic blinking cursor, awaiting instructions” writes Jonathan Zittrain. The computer was a blank canvas for the user to do with as they wish. Apple’s iPhone, Zittrain contests, is the antithesis, positing that the incredibly popular App Store was introduced only grudgingly. The chief fault with the App Store is the approval process, which eighteen months later remains byzantine and ad hoc. Zittrain rightly points out that the process excludes many harmful or offensive apps. There is, however, seemingly no specific criterion upon which apps are dismissed. To judge a piece of software on its inherent use as a service or product before it has been allowed to develop can lead to stifling of innovation. Zittrain notes “How worthy of approval would Wikipedia have seemed when it boasted only seven articles – dubiously hoping that the public would magically provide the rest?”
This argument casts Zeitgeist’s mind back to uni days spent studying technological determinism vs. social constructivism. As Ian McLoughlin explains, “The final form a technology does not, therefore, reflect its technical superiority, but rather the social processes which establish consensus around the belief that it is superior”. The Internet, originally a way for the US military to send emails, has grown inestimably beyond anything initially anticipated. Google, believing that an open-source platform will lead to innovation and advantages that they could never have thought of by themselves, have done just that with Android. Open access encourages collaboration, and always produces a more accurate solution than a smaller, more highly-qualified group. The Internet has already moved on once from the so-called “walled garden” era – when ISPs like CompuServe and AOL created their own, proprietary internets with approved material – we should not return to it.
Furthermore, a victim of its own success, the capacity of the Internet is straining under the sheer weight of data it handles. The Net Neutrality policy has been around for years but recently gained headway, finding a supporter in President Obama. There is increasing pressure on ISPs to provide preferential services (i.e. more bandwith) to certain companies, bodies or organisations who deem themselves to need it more (and who can afford to pay more for it). The upshot is a situation where certain information, or views, are more readily accessibly and available than others, “where consumers are at the mercy of the dealmaking prowess of operators and networks”. The proposed acquisition of NBC Universal by Comcast has raised concern for some, especially given Comcast’s recent history. The prioritising of messages based on financial favouritism is a slippery slope, and those small and large (such as WPP) may find themselves adversely affected.
UPDATE: Australia is currently in the throes of its own net neutrality debate, according to BBC News.
Of Pirates and Market Correction
From the October Zeitgeist…
As The Economist notes, “Some agencies have tired of coming up with clever ideas for clients without winning a share of the resulting revenues.” Consequently, agencies have begun developing their own IP, whereby they create brands for a client and then own part or all of the idea, benefitting from any future profits that brand may reap. What insights though can we gain from those who infringe IPR?
The FT writes, “In removing the cost of distribution, the internet has proved itself a perfect piracy incubator and has made it harder for those involved to be prosecuted successfully.” The New York Times review of “Ripped” castigates indolent music industry execs who presided over their own downfall. Figures on piracy are questionable. The MPA believes piracy costs film studios around $6b p.a. No consideration is given to sampling or network effects. Its attempts to put wayward teens and twenty‐somethings off with a number of campaigns, ranging from anachronistic to awful, spawn creative parodies aplenty.
Some sort of market correction was indeed necessary in the film and music retail market. Charging £16 per CD and £20 per DVD was unsustainable, especially in a recession. Rampant downloading by millions has served to correct this inequality, as noted in an Ogilvy blog. Secondly, p2p networks – versus visiting Blockbuster to rent a movie that turns out to be sold out – brought convenience. Downloading a song in a minute and a film in an hour is a very attractive proposition; years passed before the arrival of legal alternatives – Hulu, iTunes, et al. – that are now taking off, and slowing the rate of illegal downloads.
What marketing insight does the act of piracy offer us? BBC News reported that within hours of the new Harry Potter film’s release, pirated copies were selling for £3 in car boot sales. If the insight for Napster was not just music for free but music obtained easily, might this indicate a growing desire for product availability across multiple platforms simultaneously? Disney CEO Bob Iger mooted such a move back in 2005.
Even before a spell of fining and imprisoning filesharers, it should have been obvious that punishing consumers does not work, nor heel‐dragging. Neither will endear people to a brand.
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