If you want to be a successful marketer today, you need to be part data analyst and part publisher. We hear a lot about the former, but the latter is critical too. We’re all publishers (that includes me and our own marketing and sales site, of course) but many companies are only starting to come to terms with what that actually means in terms of talent and processes.
Anyone who’s a marketing leader in a large organization should watch this video. Robert Tas, managing director and head of digital marketing at JP Morgan Chase, explains what’s important when it comes to becoming a sophisticated publishing company.
As he says, one of the areas JP Morgan Chase sees as a big opportunity is content experiences across all sorts of devices 24 hours a day. It requires a fundamentally different way to look at information, and how to present it to people. It’s part of the content avalanche I’ve discussed earlier. Part of the great complexity around content is not just generating it, but the pipes you need to have in place to vet it and place it wherever (and whenever) your customers are. So this isn’t about managing writers and designers; it’s about publishing, which means the ability to manage a sophisticated content supply chain with processes, checks, oversight, metrics, and operations.
For a regulated business, content creation can be disconcerting. And one of the most important relationships to foster is the one with your legal department. But publishing has to become a core competency of any business today if it wants to stay connected to its customers and future customers.
Who is your brand’s editor-in-chief. Are you publishing like a publisher?
(VIA. David Edelman – Linkedin – McKinsey partner leading Digital Mktng Strategy Practice)
One of the biggest video sites on the Net will use Google’s next-generation video compression technology after it’s fully defined on June 17.
Google plans to finish defining its VP9 video codec on June 17, providing a date on which the company will be able to start using the next-generation compression technology in Chrome and on YouTube.
“Last week, we hosted over 100 guests at a summit meeting for VP9, the WebM Project’s next-generation open video codec. We were particularly happy to welcome our friends from YouTube, who spoke about their plans to support VP9 once support lands in Chrome,” Matt Frost, senior business product manager for the WebM Project, said in a blog post Friday.
WebM is Google’s project for freeing Web video from royalty constraints; the WebM technology at present combines VP8 with the Vorbis audio codec. Google unveiled WebM three years ago at the Google I/O show, but VP8 remains a relative rarity compared to today’s dominant video codec, H.264.
Because VP9 transmits video more efficiently than the current VP8 codec, the move will be a major milestone for Google and potential Web-video allies such as Mozilla that hope to see royalty-free video compression technology spread across the Web. However, even VP8 is still dogged by a patent-infringement concern from Nokia, and VP9 hasn’t yet run the intellectual property gauntlet.
Those using H.264 must pay patent royalties, and its successor, HEVC aka H.265, follows the same model.
H.265 is more efficient than H.264, offering comparable video quality at half the number of bits per second, and Google and its allies hope to bring a similar performance boost going from the current VP8 codec to VP9. That could help with mobile devices with bad network connections and could cut network costs for those with streaming-video expenses.
The VP9 bitstream definition, which describes how video is compressed into a stream of data so it can be transmitted efficiently over a network, has been in beta testing for a week, Frost said.
Paul Wilkins, a Google codec engineer, detailed the final schedule for the VP9 bitstream definition Thursday in a mailing list post.
WebM will be updated to accommodate the new video codec and a new audio codec called Opus, too, said another Google employee, Lou Quillio.
“The existing WebM container will be extended to allow VP9 and Opus streams,” Quillio said on the mailing list.
(VIA. Stephen Shankland – CNET)
“Gangnam Style” was the first video to hit 1 billion views on YouTube, a milestone it reached last December. Though arguably less catchy, Psy’s followup video “Gentleman,” a unique blend of pounding beats and fart jokes, is now also breaking records on YouTube. The video-sharing site announced that “Gentleman” has set the record for the most views ever in a single day with over 38 million hits on April 14 alone, making it one of the biggest online music video launches ever. To put the figures in perspective, “Gentleman” was seen 100 million times in less than 4 days worldwide, a milestone that took “Gangnam Style” nearly two months to achieve.
“Gentleman” also breaks the previous single-day record set by the now infamous KONY 2012 video in March 2012. The documentary, produced by Invisible Children, hit 31 million views on March 7, 2012.
According to YouTube, “Gentleman” became April’s top rising search on the site almost immediately after it launched, with global results peaking on April 14. It also debuted at number one on YouTube’s music chart, bumping “Gangnam Style” down to second place.
If “Gentleman” keeps going at its current pace, it represents another windfall for Psy. Google’s chief business officer Nikesh Arora revealed on the company’s fourth quarter earnings call that “Gangnam Style” had generated $8 million in revenue on YouTube alone, or an average of 65 cents every time someone plays the video. Since the creator of a YouTube video keeps about half of the money, that means Psy and his record company probably earned about $4 million from “Gangnam Style” alone.
(VIA. Tech Crunch)
The Pulitzer Prizes were announced today, and among the winners was the staff of The Denver Post for its coverage of the Aurora, Colorado shootings last summer – coverage in which Twitter and Facebook (and to a lesser extent, Storify) played a big role.
At this point, it’s so obvious that it seems almost silly to note that social media plays a role in how reporters break stories. However, it also appears to be a bigger influence on the Pulitzers, specifically the breaking news category, following a decision in 2011 to emphasize the importance of real-time reporting (in other words, it’s not enough to save the news for the next day’s paper). And indeed, the first winner after the changes, The Tuscaloosa News, included screenshots of its Twitter feed in its submission, and the Pulitzer committee cited its use of “social media as well as traditional reporting.”
The Post’s entry is even more extensive, highlighting 48 pages of Facebook updates and tweets from The Post account and staff from the first 24 hours of coverage.
“The people who follow @denverpost and our reporters and editors knew what we knew — immediately,” The Post wrote.
And the Pulitzer committee specifically cites the newspaper’s “comprehensive coverage … using journalistic tools, from Twitter and Facebook to video and written reports, both to capture a breaking story and provide context.”
The social media package actually opens with a screenshot of The Post’s Storify page, which chronicles four days of tweets from the paper and its staff. Storify co-founder Burt Herman told me that this is the first time his company has had a role in Pulitzer-winning coverage.
(VIA. Tech Crunch)
Four of the top five highest paid executives in the U.S. work at Apple, and none of them are the company’s chief executive officer, Tim Cook.
Apple’s Bob Mansfield, Bruce Sewell, Jeff Williams and Peter Oppenheimer were all among the top corporate earners in 2012, according to U.S. Securities and Exchange Commission data cited by Bloomberg on Monday. Most of their pay came from stock-based compensation rather than base salary.
Mansfield was the highest-paid of the group, receiving $85.5 million in 2012. The company’s senior vice president of its Technologies group announced last June that he would retire, but Mansfield was eventually convinced to stay at the company.
Reports last year claimed that Mansfield was given an “exorbitant” payout that convinced him to stay with a new two-year deal. At the time it was claimed that Cook “nearly witnessed an insurrection” after Mansfield announced his retirement and his replacement, Dan Riccio, was announced.
After Mansfield, the next highest paid on Apple’s team was Sewell, the company’s general counsel and senior vice president of Legal and Government Affairs. He earned $69 million in 2012, ranking him third among executives on the S&P 500.
Just behind him with a $68.7 million payday last year was Williams, who serves as the company’s senior vice president of Operations. Williams took that position in 2010 after more than a decade with Apple.
Finally, the fifth-highest-paid S&P 500 executive in 2012 was Oppenheimer, who serves as Apple’s chief financial officer. He took in $68.6 million in total compensation last year.
The top corporate earner was Larry Ellison, CEO of Oracle, who earned $96.2 million. In contrast, Apple’s CEO Cook earned $4.17 million in 2012, following the $378 million restricted stock package he netted in 2011.
(VIA. Apple Insider)
Editor’s note: Doug Gross covers consumer technology and the Web for CNN.com. Follow him on Twitter and add him to your Circles on Google+.
(CNN) — By the time you read this Twitter may have already announced it’s getting into the online-music business. If so, they will have plenty of company — courtesy of some of the tech world’s biggest names.
After days of speculation, Twitter on Friday rolled out a Web page for Twitter Music. Of course, it was a page that didn’t do anything, but sent a pretty clear signal that the much speculated-about service was about to become a reality. (The prevailing theory late Friday was that it would go live over the weekend, in conjunction with the Coachella music festival.)
Early reports suggest the service will let users listen to the songs that are trending as most popular on Twitter and elsewhere on the Web. And it would be only one of several music-streaming services to either be introduced recently or rumored to be in the works.
And it’s not just startups with names like Grooveshark any more. Google, Apple and Microsoft are among the major players now in the mix.
Why are so many Internet titans getting into the game? The answer is simple: dollars and cents.
Online streaming, by which users listen to music either for free or for a monthly fee, is the fastest growing form of music listening, according to industry reports.
The Recording Industry Association of America, in its annual report, said that while overall music sales were down in 2012, digital-music sales were up 14%, topping $4 billion.
“Digital growth was driven by large increases in revenues through what can broadly be referred to as ‘access models,’ where users can choose to listen from large libraries of music rather than purchasing individual songs or albums,” the report read.
At the top of that heap are sites like Pandora and Spotify. Pandora lets users give it suggestions, then creates a personalized radio station. Spotify lets users pick exactly what they want to listen to out of a library of more than 16 million songs. Both make money either through ads or by letting users pay a monthly fee to go ad-free.
Spotify has made no bones about its desire to make even the Apple iTunes model for digital music obsolete. Why pay for music when you can listen to virtually anything you want to hear for free (or for a modest fee), they ask? (Some musical artists would say because it helps them make a living wage, instead of fractions of a penny for each of their songs played.)
For the first time, royalties earned from digital-music services in the UK just surpassed licensing revenues from radio broadcasts. And digital streaming is growing particularly fast among younger users. A Nielsen research poll from August suggested that teens now discover and listen to music on YouTube more often than on the radio, iTunes or CDs.
“The accessibility of music has seen tremendous expansion and diversification,” said David Bakula, a Nielsen senior vice president. “While younger listeners opt for technologically advanced methods, traditional methods of discovery like radio and word-of-mouth continue to be strong drivers.”
Here’s a closer look at the heavyweights hoping to get their share of the increasingly lucrative music market.
On Thursday, music-discovery company We Are Hunted confirmed reports that it had been bought out by Twitter. Instantly gone from the Internet, We Are Hunted would search blogs, social media and other sites for new music that was picking up serious buzz and add it to a constantly updated stream.
One would assume Twitter plans something similar.
“We can’t wait to share what we’ve been working on at Twitter,” reads a message on the now-closed Hunted site. “We wish we could say (what it is), but we’re not yet ready to talk about it. You’ll hear more from us when we are.”
DJ turned “American Idol” host Ryan Seacrest praised the app on Twitter on Thursday, saying it “shows what artists are trending, also has up and coming artists.”
The official rollout could happen at Coachella on Saturday, though Twitter did not respond to a request for comment and had not confirmed that as of Friday afternoon.
Reports have suggested that Apple, which already lets iTunes users listen to their own music libraries, is also eyeing the streaming-music space.
Last month, reports surfaced that CEO Tim Cook had met with Beats Electronics, founded by hip-hop producer Dr. Dre and music-industry stalwart Jimmy Iovine. The maker of the popular “Beats by Dre” and other headphones announced in January that it had begun “Project Daisy,” a music-subscription service.
Eddy Cue, an Apple executive who played a major role in creating iTunes, also attended the meeting, Reuters quoted three unnamed sources as saying.
In its announcement of Daisy, Beats said the service would be released in late 2013 and “bring an emotional connection back to the act of music discovery.”
Google, meanwhile, is reportedly working to expand the already wide reach of YouTube in the Web music world.
For young listeners, YouTube is already a massive music-discovery and listening tool. And, like Apple, Google provides virtual lockers for users to store and listen to their own music on multiple devices.
Google’s service would reportedly let users subscribe to expanding streaming options. The company wouldn’t confirm its plans on the record, but didn’t shoot them down, either.
“While we don’t comment on rumor or speculation, there are some content creators that think they would benefit from a subscription revenue stream in addition to ads, so we’re looking at that,” said a spokesperson for YouTube, which Google owns.
Here’s the major player that’s already in the game. Xbox Music was introduced in October.
It’s offered across a full range of Microsoft products, including the Xbox 360, and uses the increasingly familiar ad-supported or ad-free for a fee model.
While Microsoft flailed with its attempt at an iPod competitor, the Zune, the tech giant has been far more successful pushing the Xbox as an all-in-one entertainment device, not just a gaming console.
A Victoria’s Secret store manager recently revealed that she gets frequent complaints that merchandise isn’t small enough to fit young girls.
“Our customers are getting younger and younger every year,” the woman said in an Ask Me Anything on Reddit. “It’s crazy to see 13-year-olds buying lacy underwear.”
[NOTE: While the woman's identity was verified by moderators on Reddit, Business Insider can't independently confirm her identity.]
The manager said that customers frequently complain that they can’t get merchandise in even smaller sizes of the brand’s Pink line for teens.
“We get complaints ALL the time that our merchandise isn’t sized small enough to fit younger girls,” the woman said. “We have middle schoolers and high schoolers who come in and can’t find Pink yoga pants or clothing small enough.”
The brand was criticized recently after an executive said that the brand was ramping up marketing efforts toward teens. The Pink line is technically for college students.
“When somebody’s 15 or 16 years old, what do they want to be?” Chief Financial Officer Stuart Burgdoerfer said at a conference. “They want to be older, and they want to be cool like the girl in college, and that’s part of the magic of what we do at Pink.”
After Burgdoerfer’s comments were reported by Bloomberg News, thousands of parents signed a petition to pull panties printed with “Call me” and “Now or never.”
The store manager said she thinks the brand needs to work harder to accommodate its youngest customers.
“We still sell an array of thongs and ‘sexy’ bras in Pink,” the woman wrote. “College women wear thongs, they wear lingerie…but it’s taboo for teenagers to do so. Our marketing just isn’t reaching the people it used to.”
(VIA. Business Insider)
And here we were, thinking that we’d just be getting our Catching Fire fix when a new trailer for the much-anticipated Hunger Games sequel when it premieres tonight at the 2013 MTV Movie Awards!
Guess what? We were wrong!
While we’ll be sure to freaking out with excitement in just a few short hours, our heart is already a’flutter, as a brand new production still has moseyed its way onto the internet, featuring our brave tributes Jennifer Lawrence and Josh Hutcherson, with our beloved Elizabeth Banks sandwiched between them!
Ch-ch-check it out (above)!
Looks to us like the Capitol’s FASHION SENSE has gotten even MORE avante garde since we last saw it!
And believe us! That is a VERY good thing!
What do U think?? Are U excited to see even MORE where this came from at the 2013 MTV Movie Awards?!