2010.02.16

Media relevance at the crossroads

So much has changed in the media landscape over the last few years, particularly the rise of digital and the fall of traditional. I’ve spoken with many people in print and broadcast media about the ways digital has become an integral part of their job — for better and for worse — and I’ve been actively using digital technologies for communication, engagement and community building.

The fascinating thing is that the traditional and digital media camps seem to be talking about a similar struggle using different language, from different stages of maturity.

Relevance

Traditional media is struggling to maintain relevance while the world around it is swirling with information, insight and one of the most important trifectas of being able to report news when it matters: location, location, location. More is being demanded of journalists with diminishing systems of support to deliver what the public wants when the public wants it. I’ve met columnists that are expected to cover the stories of interest as well as shoot and publish video on the web and write a blog post that augments and drives traffic to — not competes with — their column.

Digital media is struggling to establish relevance while the world around it watches the signal-to-noise ratio of the flood of information with a critical and suspicious eye. There are no gatekeepers and with that no quality control which both helps and hinders the trustworthiness of the information for everyone except those that are in the community. There is no specific requirement for balanced reporting except the fear of reprisal.

Here’s a fantastic opportunity for traditional and digital folks to get together and learn from each other. The traditional folks can get some guidance on the tools, culture and multidiscipline approach and the digital folks can get some guidance on sources, responsible communication and picking the relevant parts of a story. While this is important at the ground level, it’s equally important for editors, publishers and management to get in on the discussion though I expect they’re generally dismissive/suspicious of the amateur or too absorbed in financial strains and broken business models to take the time out for this kind of discussion. Of course, I might be completely wrong and they completely open to the idea.

Seems like it might be time to bring these two folks to the table. I have some thoughts on how I’d like to help make this happen. If you’re interested, drop me a line.

2008.05.22

Social Media and the Enterprise

In case you hadn’t heard, GM announced in March that they are moving half of their $3 billion marketing budget, to third largest in the United States, to digital and one-to-one initiatives (GM Changes Game, Puts $1.5 Billion Online). That’s a full $1.5 billion dollars, a sizable portion of which will likely end up on the web.

It’s my curiosity on how enterprise money is being spent that led me to attend a discussion on Social Media and the Enterprise with panelists Natalie Johnson of General Motors, Chris Reid of Yamaha Motor Canada and Jenny Bullough of Harlequin Enterprises Ltd., and moderated by Michael O’Connor Clarke. Michael’s mere appearance on the stage resulted in a dramatic hush coming over the room.

Following pleasantries and introductions, Michael kicked off the discussion with a quote from The Cluetrain Manifesto:

“…companies so lobotomized that they can’t speak in a recognizably human voice build sites that smell like death.”

Harlequin enjoys strong brand reputation. This means that there’s a community built on decades of publishing books that appeal to a specific and demanding niche. In fact, Harlequin publishes 120 new books each month including electronic selections of their back catalog based on user demand through their website. Also interesting is that Harlequin still accepts unsolicited manuscripts.

One of Harlequin’s greatest successes is a series of meet-the-author podcasts that connected aspiring authors with potential readers and meet-the-editor podcasts which educated aspiring authors on the Harlequin approach.

Nathalie talked up General Motors’ social site imsaturn.com (though her way of saying I M Saturn was confused by the entire room to be I Am Saturn which led us to the website of a hip-hop musician). Another initiative that connects their customers with the organization is IGotShotgun.com which features behind the scenes videos. The greatest challenge to moving to the social web has been securing the support of the upper ranks and steering the corporate culture of 266,000 people in a new direction.

Yamaha brought in an outside expert to educate senior management on the value of social media for brand value and online reputation. Chris described how he could see the lights go on during the session and that having an outside expert added credibility to the campaign, that he alone would not have had the same impact despite the fact that he is the in-house expert.

While each organization has corporate blogging policies, each approaches participation in online communities by employees a different way. Harlequin’s multi-page policy comes down to ‘don’t be stupid’; don’t blog about authors, don’t blog secrets, etc… The brand is well defended by a large and passionate community. This means that Harlequin watches as the community responds to negative comments. GM allows employees to participate in online communities provided they are transparent about their employment. They moderate comments for foul language and offensive remarks. Otherwise, they allow negative remarks and criticism in order to be transparent and to learn from the community. Yamaha only allows internal blogging and does not permit employees to represent the company online.

When the panel was questioned about their organizations’ commitment to social media, Michael noted that the panel represents a new environment in which companies are dedicating full-time positions to social media engagement.

2008.05.21

Video is Everywhere

Amber MacArthur led a talk about the proliferation of video content on the web called Video is Everywhere. The panelists introduced themselves and their roles within their organizations as follows:

  • Dina Kaplan (blip.tv): original episodic content on the web and matching of content with revenue opportunities
  • Andre Gaulin (CTV): tasked with bringing online social media craziness to television for CTV
  • Guinevere Orvis (CBC): mobile and online strategy production; putting behind the scenes video added value content that doesn’t appear on television online

This panel featured a classic display of the perceived personality stereotypes.

Dina represented the excited and passionate, over-caffinated envangelist of a grassroots community whose passion to create great content is increasingly obscured by the ambition to convert user-generated content into independent wealth. Dina’s near message-track focus was on maximizing revenue opportunities by packing as much advertising into any available corner of a video clip. She also really liked every question (‘That’s a great question”, “It’s a really interesting question”…).

In contrast, Andre explained in his calm demeanor how CTV is working with various production companies to bring terrestrial content to the web and web content to our televisions. When posed with the challenge of explaining why some US content is not available in Canada, he spoke at a high level explaining that rights and licensing is an extremely complicated legal are which involves different production houses with different requirements and licensing restrictions.

Guinevere summed up the session’s unique qualities  by eloquently pointing out that the three panelists represent three different approaches that won’t likely converge into a single model, ever. Where CTV is pursuing unique ways of cross-pollinating content from various media, CBC is on the cutting edge of exploiting new technologies to inspire custom content creation and distribution. Among their innovative initiatives (for a public broadcaster) is the distribution of Canada’s Next Great Prime Minister using Bittorrent.

Say what you will about the dinosaurs of broadcast media, their primary interest remains the creation and distribution of quality content using innovative and accessible technologies.  They understand the competitive nature of content creation and consumption. Meanwhile, the grassroots are giddy about the idea making a buck. (note: Dave Fleet suggests that a buck might be more than they will actually make)

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