Wednesday, November 11, 2009

Why Retweet works the way it does By Evan Williams

November 10, 2009

Why Retweet works the way it does

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  • Posted at 6:29 PM
This week on Twitter, we're rolling a feature we've been working on for a while out to a lot more users. (If you don't have it yet, you will soon.) That feature is our native version of Retweet, which Biz posted about on the Twitter blog a couple months ago.

I'm making this post because I know the design of this feature will be somewhat controversial. People understandably have expectations of how the retweet function should work. And I want to show some of the thinking that's gone into it. I've been a big proponent of this particular design internally at Twitter, because, while it won't serve every use case, I think it offers something new and powerful.

Background
As you know, retweeting is a very cool thing that emerged organically from Twitter users as a way of passing on interesting bits of information. Third party developers who make Twitter clients embraced it and added retweet functionality to their apps without us at Twitter doing anything at all with the feature. This isn't the first time this has happened, and this kind of emergent behavior is one of the best things about our ecosystem of users and developers.

People have long asked when we're going to build a RT button on twitter.com. While it would have been pretty trivial to do the way some clients have, the reason it's taken a while is because we wanted to do something a little more fundamental that we thought would add a lot more value.

While retweets as they work today are great, they have some drawbacks. Notably:

Attribution confusion. With regular tweets, you have a user picture, a username, and the tweet text. They all have a particular relation to each other. We call this, the "anatomy of a tweet."

With what I'll call organic RTs, you have the same elements, but they have a different relation to each other. Most notably, the text of the tweet is not written by the person whose picture you're seeing, nor the username that's at the beginning—except for when the retweeter annotates the tweet, so they have written part of it. (And sometimes that's at the beginning, sometimes the end.) Even once you get used to the common syntax (and there's not just one), there's extra mental parsing to associating the text with the right username and not the picture.

I believe this is a bigger issue for the readability of tweets than is obvious. I also often receive @replies from people who clearly think I said the thing that I just retweeted.

Mangled and messy. The attribution is confusing in the best case. But it's worse because different clients treat RTs differently, and if someone retweets a retweet it gets messy fast. Because organically retweeted tweets can be edited, even if the original author is properly understood as the author, it's not necessarily for what they really said. Inaccurate attribution is possible in any medium. But in Twitter, because of the character limit, it's often necessary. People shorten and edit retweeted tweets to make them fit along with the extra metadata. Even when for legit purposes, that can be misleading and unfair to the author. Worse, RTs can actually be easily faked, which has become a form of spam, wherein well-known people are shown to be promoting something they never twittered about.

Redundancy. If five people you follow retweet the same thing, you get five copies, which can be useful but is a lot of noise. This comes up even more in search. Popular users can get retweeted enough to saturate a search query. Coincidentally, as I'm writing this I came across this:

Noisiness. Let's face it: Some people over-retweet. You may be interested in what they personally say, but you don't need to know about every link and charity cause they pull their RT-happy trigger finger on. The only choice you have today is deciding if the benefit of getting their occasional gems is worth the cost of their retweetarrhea.

Untrackable. Retweets potentially reveal very interesting data. After all, if something's worth repeating out to all your followers, that's a signal that it's more interesting than something that's not (over-retweeters aside). If something retweeted by a bunch of people, relative to how many are following the original author, that's valuable data that may help people discover interesting news more quickly. Third-party developers have recognized this and built sites to try and track this information. But it's fundamentally hard because the data isn't structured.

This last point is not obvious but is particularly important for fulfilling Twitter's goal of helping you discover the information that matters most to you as quickly as possible. Part of the beauty of Twitter is that you can follow your friends, organizations, public figures, or strangers you find interesting. But no matter how carefully you've groomed your following list, out of the millions of tweets written today, are you seeing the absolute most relevant ones to you? Or are you getting some good stuff, some stuff you don't care about, and likely missing a whole lot of other killer tweetage you don't even know is there?

I would argue it's the latter. The perfect Twitter would show you only the stuff you care about—relevant, timely, local, funny, whatever you're most interested in—even if you don't follow the person who wrote it. And, of course, it would give you ultimate, fine-grained control in how to do so. We want to give you more ways to help the good stuff bubble to the top.

Foreground
Toward that end, we've designed Retweets in a way that helps people get more good stuff, while solving some of the other problems described above.

In an announcement a few weeks ago to get developers building new RT functionality into their clients, we released some preliminary mockups showing how the new Retweet functionality might work on twitter.com. (I've read a couple times today that we're apparently keeping this feature only for twitter.com, which is exactly wrong. Most of the clients are working on incorporating it presently.)

The design is simple: There's a retweet link by each tweet and, with two clicks, it will be sent on to your followers. This takes care of the mangled and messy problem because no one gets an opportunity to edit the tweet (more on that below). The meta data (about who tweeted and who retweeted) is not in the tweet text itself, so they never have to be edited for length. Because they're built natively into the system, they're trackable. And because they're trackable, we can take care of the redundancy problem: You will only get the first copy of something retweeted multiple times by people you follow.

It will be very quick and easy to retweet, you'll never have to edit the text, and you also won't have to worry if your followers have already seen something, so this should encourage retweeting more and more useful stuff flowing farther.

The noisiness problem is taken care of by a new setting that will allow you to turn on and off retweets on a per-user basis. That is, if you only want to see someone's personally authored tweets, you can shut off just their retweets altogether but still follow them.

The attribution problem: In order to get rid of the attribution confusion, in your timeline we show the avatar and username of the original author of the tweet—with the person who retweeted it (whom you actually follow) in the metadata underneath. The decision is that this:

...is a better presentation than this:

No fault of @AleciaHuck's but the first is simply easier to read, and it gives proper credit to @badbanana. Even if you know @AleciaHuck, there's no benefit to having her picture in there.

The drawback is that it may be a little surprising (unpleasant even, for some) to discover avatars of people they don't follow in their timeline. I ask those people to keep in mind the following: You're already reading the content from these people via organic retweets. This is just giving you more context. My experience is that you get used to this pretty quickly, and it's a welcome way to mix things up. If you find someone constantly throwing people in there you don't like, as mentioned before, you can turn off Retweets from them (while still following their non-retweets). And if you really don't like it, and you only want to see what people you follow wrote themselves, you can turn off Retweets for everyone you follow (individually). Organic RTs do not offer nearly this flexibility.

The other thing some people will not like is that, unlike organic RTs, there's no way to annotate or leave your own comment when you retweet something with the new system. Some people annotate with every retweet, some don't do it at all. But it's definitely useful in certain scenarios. We left it out of this first version mostly for simplicity. It's especially tricky when you consider transports like SMS where adding a lot of structure or additional content is hard. But we have some ideas there, and it's possible we'll build that in at a later date. (This point should not be missed.)

What about those cases where you really want to add a comment when RTing something? Keep in mind, there's nothing stopping you from simply quoting another tweet if that's what you want to do. Also, old-school retweets are still allowed, as well. We had to prioritize some use cases over others in this release. But just as Twitter didn't have this functionality at all before, people can still work around and do whatever they want. This just gives another option.


The larger point, though, is that this feature should make Twitter a more powerful system for helping people find out what's happening now that they care about.

To give you a better sense of what we're trying to accomplish, check out this guest post on Techcrunch from back in May by David Sacks, CEO of Geni and Yammer and former COO of PayPal: The Awesome Potential of Retweet. In it, he lays out much of what I do above—describing the drawbacks of how RTs work today and proposing a native solution that's pretty much identical to what we've come up with. (Believe it or not, we had this design before he wrote that—not that we would have minded stealing the idea from him.)

I'm excited to see what our users and developers do with it and teach us about Retweet, so we can improve it more.

I'm curious to see how this plays out.

Posted via web from Joe Shockley's Data & Sound

Monday, November 09, 2009

Music you should Hear and See: Exile & DJ Day - D Train Routine

Filmed in Amsterdam @ Rooms of Red Bull.

I love where DJing and Live PA's are going.

Posted via web from Joe Shockley's Data & Sound

Bummer: !!! Drummer Passes Away.

Maserati and !!! Drummer Passes Away
by Staff | 11.09.2009

Gerhardt "Jerry" Fuchs, the 34 year-old drummer for indie bands Maserati and !!!, passed away early Sunday morning, due to a tragic elevator accident. The drummer was attending a Williamsburg, NY benefit, when he and another elevator passenger's elevator car halted and he attempted to jump to the next floor.

Fuchs' most recent work with Georgia-based psychedelic instrumental ensemble Maserati included a split LP, with Zombi released in early 2009, and rarities collection Passages out later this year. He'll be greatly missed.

  

That's a shame. I'm glad I had a chance to see them on before he was gone!

Posted via web from Joe Shockley's Data & Sound

Saturday, November 07, 2009

Spotify: not getting the best advice...

"My advice to Spotify is to hire a banker and start shopping the company to a BDC (big dumb company)." ®

Entertaining read this morning. What I don't get is all the backlash. Spotify has a brilliant model. They've learned so much from others who have failed at making this model work. They know the bottom line is access. We want it all and we want it now. Mobile devices have created the oppurtinuty to make streaming and more importantly caching work anywhere and that's a service worth paying for. If the BDC is Apple I might be down with this idea, anyone else will most likely screw this up. 

Recently I had not only my entire media hard drive die, which housed roughly 1TB of Music, Movies and Pictures, but the media back up drive failed as well. Fortunately I have a 3rd back up that was just a few months old so my total data loss is very little, but I'm getting tired of managing this issue. These things tend to happen every couple of years and it's getting old.

I use Evernote and Dropbox religously and I want to manage my media the same way. I want to walk up to any device, install the app, enter my credentials and boom all my stuff is there. My library, My playlists, My ratings... The whole thing. I don't want to think about it, I just want access to it, where ever I am.

I want my Spotify and I want it now!     

Joe Shockley
Sent from my iPhone

Posted via email from Joe Shockley's Data & Sound

Tuesday, October 27, 2009

My take on The Time Traveler's Wife

The Book = A romantic adventure, inspiring and reflective. A great love story that has passion, depth and a tremendous sense of longing. 

You Know, things that you feel when you're painfully in love.      

The Movie = A rushed and uninspired piece of crap.  

So Kristn and I went to see "The Time Traveler's Wife" at the $3.00 movie theater in Tamarac this past Sunday.  We were adivised not to see it but I enjoyed the book so much that I just couldn't help my self. I wanted to see the charectors come to life on the screen.

From the very 1st scene the movie is all wrong.  I don't understand why it is that when screenwriters, directors and producers set out to make an adaptation of a book they more often than not suck the life out of it and deliver a mangled cliff notes version of the story.  At what point do you start cutting for time at the expense of actually delivering a finished product that's worth watching.

Don't get me wrong, you can't bring every word off the page and on to the screen, but if your goal is to make a love story with a fantastic premise such as a girl who 1st meets her future husband at age 6 while he's 39 because he's traveling through time unwillingly, then don't you think you might want to give the story a little breathing room so that the audience might have some time to get attached to the charectors and to possibly give a shit as to what might happen to them? Just Sayin'.

It's truly a shame. There was an opertunity there to turn this film Into a Titanic sized love story. There was so much depth left out that could've made this such a great film, Instead what was made was this steaming pile of turd that requires such a leap of faith to make it work that you really just can't buy into it. You just don't give a shit about anyone in this film, it truly plays out like an extended postcard of a sunny beach that's says "Wish you were here!" when it should say "I wish you were here becuase life sucks so much with out you that even the sun just dosen't shine as bright as It once did when you stood next to me." 

I think you get me. I'm dissapointed. I wasn't expecting much, but I was expecting better. You had Brad Pitt as one of the Producers, Bruce Joel Rubin, the same screen writer who wrote the screen play for "Ghost", and Rachel McAdams... Hello! The Notebook! WTF! Then again it was directed by Robert Schwentke who directed "Flightplan"... yeah I didn't see it either so maybe that's part of the problem.

Bottom line, don't see this movie, remove it from your netflix cue, head over to Amazon, your Kindle or your nearest B&N or Borders and buy the book and enjoy. 

Joe

Posted via email from Joe Shockley's Data & Sound

Monday, October 26, 2009

Michael Lavine Photography · Books · Grunge ·

If this book ended up on my coffee table come December 25th, 2009 I would not be disappointed.

Posted via web from Joe Shockley's Data & Sound

9 Weirdest-Looking Animals You Didn't Know Existed (PHOTOS)

From newly-discovered deep sea crustaceans to rodent-resembling primates, nature has brought us some outright weird-looking creatures. Check out these animals that just seem out-of-this world and vote for the one you think is the weirdest of them all!

Read more at: http://www.huffingtonpost.com/2009/10/15/9-weirdest-looking-animal_n_317907.html?slidenumber=0#slide_image

Posted via web from Joe Shockley's Data & Sound

Sunday, October 18, 2009

Point!

Joe Shockley
Sent from my iPhone

Posted via email from Joe Shockley's Data & Sound

The Rosebuds - Push It (Salt N' Peppa Cover)

Push It by The Rosebuds  
Download now or listen on posterous
Push It.mp3 (4889 KB)

While preparing playlists for my wedding reception brunch thing tomorrow morning I stumbled upon this gem. I debated wether or not to add it to the mix but then on her drive home from dinner tonight Kristen heard the original and was inspired, thus it's made the cut. It should go well with the cover of "Bust A Move" that Kristen's brother does. No Joke.

The scoop on this cover is that The Rosebuds did it just for fun and used it to promote a few tour dates. And It's just another reason why Kristen and I love them so much. Most bands have a sense of humor, but few show it. I love a band that can write dark moody songs and cut loose and smile from time to time. Just as long as it's not all the time.

Joe

Posted via email from Joe Shockley's Data & Sound

Saturday, October 17, 2009

The Rosebuds - Push it (Salt N' Peppa Cover)

Push It by The Rosebuds  
Download now or listen on posterous
Push It.mp3 (4889 KB)

While preparing playlists for my wedding reception brunch thing tomorrow morning I stumbled upon this gem. I debated wether or not to add it to the mix but then on her drive home from dinner tonight Kristen heard the original and was inspired, thus it's made the cut. It should go well with the cover of "Bust A Move" that Kristen's brother does. No Joke.

The scoop on this cover is that The Rosebuds did it just for fun and used it to promote a few tour dates. And It's just another reason why Kristen and love them so much. Most bands have a sense of humor, but few show it. I love a band that can write dark moody songs and cut loose and smile from time to time. Just as long as it's not all the time.

Joe

Posted via email from One's posterous

Pre wedding reception booze talk

Listen!

Posted via web from Joe Shockley's Data & Sound

Monday, October 12, 2009

Compute This: World’s Oldest Working Computer On Display

Once used to help develop nuclear reactors, The WITCH comes out of being in storage for 30 years to be on display once again.

Posted via web from Joe Shockley's Data & Sound

Saturday, October 10, 2009

Up super early on a Saturday, but well worth it.

Upgraded RAM in production MacBook, Listen to The xx, created a new Disk Image of previous production MacBook, listen to some Thom Yorke. Help a customer Migrate select data from a Sunflower iMac to a shiney new 20" Aluminum Iintel iMac. Listened to house keepers of said customer franticly clean and making all efforts to avoid gorgeous, yet gigantic Golden Retriever. I have lots more to do today and It's not even noon yet.

Posted via email from Joe Shockley's Data & Sound

Friday, October 09, 2009

It's F***ing Charging!

Posted via email from Joe Shockley's Data & Sound

9 Successful Techniques for Making Money from Podcasting

onairDavid Spark (@dspark) is the founder of Spark Media Solutions, specialists in building industry voice through storytelling and social media. He blogs at Spark Minute and is a regular on Cranky Geeks and ABC Radio.

For many, creating a podcast is something that’s done solely out of passion. But even among those who do it strictly for the love of podcasting, after awhile, once you’ve built up an audience, there comes a time when you think to yourself, “I can’t keep doing this for free.”

Such was the case with many of the people I interviewed in my 15-part series, “Making Money from Podcasting.” From a $50 donation to cover an afternoon of babysitting to a six figure sponsorship, the people I spoke to have been making anywhere from pocket change to lucrative careers from podcasting.

What follows is a compendium of nine proven money-making techniques for podcasters. All are successful to varying degrees and some podcasters use a combination of methods. This summary provides an explanation of all the techniques, and tips from the podcasters who have pulled them off. For more tips, advice, and to hear the full money making podcast story, make sure to read and listen to each the interviews linked throughout this article.

1. Got audience? We’ll get you sponsors

ssicon_Mevio_Adam_CurryPodcast networks such as Mevio, Podtrac, and Wizzard Media welcome any podcaster that has an audience, because that means they can sell advertising against it. The networks collect shows, categorize them, and sell advertising on a CPM (cost per thousand) or CPA (cost per action) basis. Adam Curry, former MTV VJ, podcasting pioneer, and President of Mevio (interview), is looking for podcast producers that know their audience and can motivate them. Using either their show programming or social media, podcast producers promote show-specific coupon codes for their sponsors. Every time one is used, the podcaster gets paid. Of their network of 15,000 podcasters, Curry said he has three podcasters that will make between $500,000 to $1,000,000 this year.

Kevin Kastner of Alaska HDTV used to be a Mevio customer but left because he was unsatisfied with what he was being offered (he wasn’t willing to make a CPA deal) and the opaqueness of the deals. He had no idea how much Mevio was selling his show to advertisers. Curry said he splits all revenue 50/50 with podcasters.

2. Get your own sponsors

ssicon_Alaska_HDTV_Kevin_KastnerKastner left Mevio (interview) because he believed he and his partner could land their own sponsors and make more money. They did, and in doing so increased revenue 200 to 300 percent, said Kastner. But he admits it has come at a serious cost: his workload has increased more than ten-fold.

ssicon_Wizzard_Media_Rob_WalchWizzard Media offers a hybrid advertising solution for podcasters that want to make more money by landing their own sponsors, yet still need the crutch of an ad network to fill out any unsold inventory. Royce Hildreth, co-producer of Pregtastic, the podcast by and for pregnant women, uses this Wizzard Media hybrid solution. For podcasters that get their own sponsors, Wizzard Media will insert the ads for a flat fee, explained Rob Walch, Wizzard’s VP of Podcaster Relations (interview) and host of the Today in iPhone podcast.

3. Be like public TV, beg for donations

ssicon_Pregtastic_Royce_HildrethPregtastic’s Hildreth (interview) admits that the hybrid sponsorship alone isn’t cutting it, so he’s put up a begware button and instructed podcast hosts to say that the show costs a donation. He and his co-producing wife aren’t making a lot of money from donations, however. It’s usually enough to hire a babysitter for when they have to go to the studio to record another episode.

4. Give some away free, charge for the rest

ssicon_ScreenCastsOnline_Don_McAllisterThis technique comes in multiple variations. One of the innovators of this technique is Don McAllister, host of ScreenCastsOnline (interview), a weekly video podcast of “how to” Mac software tutorials. McAllister gives away every other episode and makes viewers pay for the rest ($57 for the first six months) which includes additional bonus content and hi-res videos.

ssicon_Izzy_Video_Israel_HymanThe formula has become his livelihood for the past three years, and it’s been copied successfully (with McAllister’s blessing) by Israel Hyman host of Izzy Video (interview) and producer of Rolling R’s and Paperclipping.

ssicon_MacOSKen_Ken_RayWhen Hyman and McAllister first produced their podcasts they were completely free. It wasn’t until after a few years and some success that they started charging for some of their shows. Ken Ray, host of Mac OS Ken (interview), a daily podcast about Apple news, didn’t want to start charging for his free podcasts, so he created another show, “Day 6,” which can only be accessed through a paid subscription. Ray said the “Day 6″ show is designed to pay for his daily show.

ssicon_Premiumcast_PaulColliganApple doesn’t allow podcasters to charge for podcasts within iTunes, so if you want to create a paid podcast, you need to use a service such as Premiumcast.com which allows you to create personalized RSS feeds, explained CEO Paul Colligan (interview). Personalized RSS feeds allow for complete control over the podcaster/subscriber relationship, allowing you to serve different content (e.g., PDFs, video, or audio) and time the distribution, plus turn off a feed if someone stops paying.

5. Partial show free, full show paid

ssicon_Never_Not_Funny_Matt_BelknapOne of my favorite podcasts, Never Not Funny, is hosted by a great comedian I knew in Chicago, Jimmy Pardo. The show is 90 minutes long, but only the first 20 minutes is available for free. If you want the rest of the show, you need to become a paid subscriber ($19.99 for a season of 26 episodes in audio, $24.99 for the season in video). Like McAllister, Hyman, and Ray, the Never Not Funny podcast didn’t begin with a paid model. Pardo and his co-host and producer Matt Belknap (interview) created 100 shows for free first, and then switched to the partial show free, full show paid model. It’s paid off. Belknap estimates that 35 percent of their total listeners are paid subscribers.

6. Build your own media network of programming and sell advertising against it

ssicon_Personal_Life_Media_Susan_BrattonLaunching a radio or television network has enormous overhead. A podcast network doesn’t. Personal Life Media is an online network of blogs and podcasts that address personal life issues such as career, love, health, and finance, explained CEO Susan Bratton (interview). Unlike podcast networks such as Mevio and Wizzard Media which are just collecting a mishmash of programming, Personal Life Media behaves like a radio network that controls its programming and its overall brand. With her lineup of forty programs, Bratton can sell advertising packages by specific category that get from 100,000 to 250,000 downloads per month.

ssicon_ESPN_Marc_HorineUnlike Bratton’s Personal Life Media, ESPN didn’t have to start from scratch when creating its podcast network, ESPN Podcenter; they already had a brand and a radio station. When they first began podcasting five years ago, they repurposed some radio content for the web, but soon learned that it was more effective to create original podcast programming. Now with a lineup of more than 100 podcasts, ESPN sells integrated sponsor packages across multiple media that can include advertiser images that appear on the show’s icon within iTunes’ podcast directory, said Marc Horine, VP of Digital Media at ESPN (interview).

7. Build your brand to sell your services

ssicon_Duct_Tape_Marketing_John_JantschMarketing and digital technology coach John Jantsch is the host of the “Duct Tape Marketing” podcast (interview) which is also the name of his book and his consultancy. In his early days of podcasting, when he was a complete unknown, Jantsch would request interviews from well known social media types like Guy Kawasaki and Seth Godin. Having them on his podcast raised his profile. Since, his consulting business has increased 500 percent and is now landing him six-figure sponsorships repeatedly, said Jantsch.

ssicon_Manager_Tools_Mike_AuzenneMike Auzenne, co-host of the Manager Tools podcast (interview), doesn’t charge for his podcast or take any sponsorship money. He just focuses on delivering great advice and actionable tips to be a better manager. The four-year podcast trust building exercise is working. All of Manager Tools’ clients come from hearing him on the podcast first, and as a result business has increased ten-fold, said Auzenne.

8. Sell an iPhone app along with your podcast

ssicon_Elsies_Yoga_Elsie_EscobarElsie Escobar is the host of the podcast Elsie’s Yoga Class Live and Unplugged (interview) which is simply an audio recording of her yoga classes. Though the podcast is distributed completely for free, she’s just starting to make money with a $3.99 iPhone application. The application, developed by Wizzard Media and available to any podcaster on a revenue share basis, lets Escobar and anyone else offer value add content for their podcast. Escobar uses it to add PDFs of routine sequences and quick access to 70 of her past yoga classes. It’s an ideal platform to be on since Wizzard Media’s podcast metrics show that 85 percent of people download podcasts through iTunes. Combine that with the 50 million iPhones and iPod Touches sold and you’ve got yourself a strong podcasting platform, said Wizzard Media’s Rob Walch.

9. Integrate sponsorship with the show’s editorial

ssicon_Slate_Andy_BowersDigital audio book seller Audible is a regular sponsor of many different podcasts. It is natural for them to advertise on podcasts, since their product is usually consumed in the same place: iPods. It was even more appropriate for them to advertise via sponsored editorial placements on Slate’s Culture Gabfest, a group discussion podcast of the week’s arts and entertainment happenings, explained Andy Bowers (interview), Slate’s podcast and video producer. The Culture Gabfest’s hosts were already consumers of Audible’s product and were eager to recommend books or take recommendations from listeners. Book recommendations fit in naturally with the show’s editorial and it also has increased engagement as they continue to track their success through a show-specific promotion code.

This is just a brief summary of all the different ways one can make money from podcasting. For “how to” tips and expert advice on how to make these techniques actually work, make sure you read and listen to the interviews, linked all throughout this article.

More business resources from Mashable:

- 5 Advanced Social Media Marketing Strategies for Small Businesses
- 4 Ways Social Media is Changing Business
- 6 Must-Follow Steps for Selling in Any Economy
- 5 Easy Social Media Wins for Your Small Business
- HOW TO: Use Twitter Hashtags for Business

Image courtesy of iStockphoto (iStockphoto

), Graffizone

These are all great tips and, depending upon the type of podcast your doing, combing a few of them can obviously yield very positive results. For most though, building your brand through your podcast that lead to other sources of revenue is the best, most unobtrusive way to go. What are your thoughts?

-Joe

Posted via web from Joe Shockley's Data & Sound

In a surprise move, Obama wins Nobel Peace Prize

"OSLO -- President Barack Obama won the 2009 Nobel Peace Prize on Friday for "his extraordinary efforts to strengthen international diplomacy and cooperation between peoples," the Norwegian Nobel Committee said, citing his outreach to the Muslim world and attempts to curb nuclear proliferation."

Didn't see hat one coming did ya!

Ok so now he has he worlds attention... again. So what's he gonna do with all that love?

I've got a few ideas...

Posted via web from Joe Shockley's Data & Sound

Wednesday, October 07, 2009

Fresh Espresso - Live on KEXP

To play mp3s in your browser, you will need to have Javascript turned on and have Flash Player 9 or better installed.

Just listened to the these cats from Seattle. They're on the underground Hip Hop Tip with a bit of an Indie/Electro flare.  The tune 'Right Here' is smooth and 'Lazer Beams' has some cool live vocoder action, Aside from that it's just two guys rapping to a laptop, But man is that laptop is working it!

Enjoy!

Joe

Posted via email from Joe Shockley

Gnarls Barkley cover Radiohead's 'Reckoner'

Reckoner (Radiohead Cover) by Gnarls Barkley  
Download now or listen on posterous
17 Reckoner (Radiohead Cover).mp3 (5192 KB)

Stumbled upon this cover this morning, it comes from a performance recorded Live @ Astoria 2, London in August of 2008. Cee-Lo's vocals lay the soul on pretty thick, almost a gospel howl of sorts, while the rest of the band does a rather accurate rendition of the song. Good find! The MP3 features a bit more of Cee-Lo introducing the song and some banter afterward.

Posted via email from Joe Shockley

Tuesday, October 06, 2009

Monday, October 05, 2009

Ouch! Loud noise!

Listen!

Posted via web from Joe Shockley

U.S. Mac Ownership Grows, But Nearly 85% of Mac Households Also Own Windows PCs

http://www.macrumors.com/2009/10/05/npd-u-s-mac-ownership-grows-but-nearly-85-of-mac-households-also-own-windows-pcs

I find this to be true with about 80% of my customers. Many of whom are switchers thanks to the iPhone or simply tired of dealing with Windows virus issues.

Another interesting note: Of my 80% of Mixed enviroment house holds almost half of them continue to use Windows on their Mac via Bootcamp, Parallels or VMWare Fusion. And of that 50% I'd say nearly 90% of them do so because they are in Realestate or Finance.

Posted via email from Joe Shockley

Life 0-30 in Pictures.

Dead on except life at 30, my life was way better at 30.

Posted via web from Joe Shockley

Saturday, October 03, 2009

The Death of Multitasking and Rebirth of Unitasking

http://www.dumblittleman.com/2009/10/death-of-multitasking-and-rebirth-of.html

You mean having Tweetie, iChat, Mail, Safari and iTunes open while I'm building a FileMaker DB is less productive? Damn!

I'be been saying this for a while now, nice to have some science backing me up. What we need is focus not the constant flow of mlutiple activites and tasks.

Posted via email from Joe Shockley

Friday, October 02, 2009

Florence & The Machine - You've Got The Love (The xx Remix)

You've Got The Love (The Xx Remix) by Florence And The Machine  
Download now or listen on posterous
You've Got the Love (The xx Remix).mp3 (6773 KB)

It's more of a cover really. Injecting a Two Step vibe with Romy and Oliver sparing on vocals and making this track their own. Love it.

Enjoy!

Joe

Posted via email from Joe Shockley

Thursday, October 01, 2009

5-year-old boy plays "Folsom Prison Blues" by Johnny Cash

Cute. Take that Yo Gabba Gabba!

Posted via web from Joe Shockley

Ableton - Novation Launchpad - Pretty Slick Device!

It's confusing to watch this in action with this tailored version of Live, but I'm curious to get my hands on it.

Posted via web from Joe Shockley

The Sky Drops - Truth Is

"The Sky Drops are gaze-grunge duo Rob Montejo and Monika Bullette. This Delaware twosome unearths an ocean-size of sound -- a superforce of guitar, drums and vocals. "What a Loveless-era My Bloody Valentine kicking Elliot Smith from his grave would sound like (with a twist of lemon)." - Andrew - fan of The Sky Drops"

That sums it up.  I stumbled upon this duo yesterday and immediately found them to be familiar and fresh at the same time. Takes me back to the mid 90's but keeps me present with their stripped down duo sound and straight ahead drive. The vocals are really the key, they help to lift up the overall mood of the songs, they could've easily and lazily gone a more sludgy direction. They have a 5 Song EP which has another stellar song called 'Now Would Be' that is well worth checking out.

'Truth is' comes off their debut Long player "Bourgeois Beat".

Truth Is by The Sky Drops  
Download now or listen on posterous
06 Truth Is.mp3 (8043 KB)

Enjoy!

Posted via email from Joe Shockley

Wednesday, September 30, 2009

Where is Art & Entertainment headed?

John (http://johntooker.posterous.com/) sent me these two links last night...

http://www.wbur.org/2009/08/20/basement-musician

Here are some thoughts after reading them:

I agree with Amanda Palmer. She totally has the right idea.  Why the hell should you not be compensated for the art you create? The idea of every artist or band being a street a street performer and saying "Yo, give me some money!" might be a  bit hard for some to adjust to, but it does make a lot of sense. 

Marqui Adora (http://www.marquiadora.com) rarely played shows for this exact reason. We quickly got tired of haggling Promoters to get paid at the end of the night after playing with 10 other bands on a tiny stage not large enough for a drum kit let alone a 4 piece band and a shit PA. We knew we were never going to be singing with a record label and endless touring when no one knows who you are wasn't really appealing either.  John and I continually said there has to be a better way. We went the music licensing route and even though we had some successes, when the well ran dry on placement opportunities, we quickly realized we had no real fan base, not one large enough to support us, and it was time to get day jobs. And although the music industry is in flux, some really awesome things are happening as a result. For one, John and I know a shit ton about how to fix and troubleshoot an Apple Computer and Danny knows how to expertly make your mouth water while preparing food in the kitchen. Howard can make a new tooth for ya.

With the basement musician guy... he is just as silly to me as Jonathan Coulton (http://www.jonathancoulton.com), but he has good ideas, just like Jonathan. And for that matter so did Radiohead with their Thumbs Down webcast videos during In Rainbows.

These videos got me excited to go see them live. And many bought the Box Sets. I paid five bucks for the record, even after getting the whole thing free a week or two before it's "Official" release.

The key here is both artists are taking chances and go about their business in ways that make the most sense to them.  Neither of their approaches will work for everyone but they will work for those who put in the time and energy to build relationships with the fans/customers.

"Bob Lefsetz says it's all about the live show, what about recorded music and all the money I spent buying recording gear and the time I spent learning how to do it on my own? Does recorded music have value any more?"

Good question. I ask my self that question whenever I go into my office and see 10's of thousands of dollars worth of recording equipment, instruments, computers and shelves full of 12" records and CD's. I ask myself that question whenever I think of how many times I listened to "The Downward Spiral"  , "Broken" and "The Slip"; or the number of times I walked to school listening to "Disintegration""Pornography" and that Ethyl Meatplow record; or the time I spent dissecting "Fook", and the many drives to anywhere just to listen to "Either/Or" and "XO";  Or how about the trips to Orlando with "Ruby Vroom"  or "The Bends" as the soundtrack or the number of times I just sat down with headphones to take in "In Rainbows" or even most recently "xx". Of course these recordings have value!  Look at how much use I got out of them!  I see the music landscape becoming more interesting everyday and I think the value of recorded music is still there and is expanding in the form of royalties through services like Spotify. Not that Spotify is the end of the line, but it's a big step in the right direction when it comes to this topic.

Which leads me to my next topic...

Ownership vs. Access.

As for Art and Entertainment as a whole, I feel really comfortable with the idea of owning very little but having access to everything. I've been doing that for years with Movies (The Theatre, Netflix, iTunes etc.) and now with Spotify I'll be doing it more so with music (don't worry eMusic, I still love you). The People who really want the access will pay for it via subscription or buy the Album/Song/Movie out right, those who don't will tolerate the Ad's because really, they don't care that much anyway, otherwise they would own the record/movie themselves. I feel the same applies with Books, TV, Radio and all forms of art that can be digitized.  When on demand services mature and every play/stream/download is accurately accounted for and reported to the rights holders and collections services, the amount of revenue generated as whole will be insane, even at fractions of a penny per download. And of course Labels, Publishers and Movie Studios will find their place again by delivering prominence and front page placement. It will all level out

You can't buy the Statue of Liberty, but you can pay admission and see it in person... while you're there you can buy a print, a postcard, a t-shirt, go home and download the screen saver or desktop img, etc. This applies to the Album and seeing a band live.  You can't own the band (well, ok maybe you can), but you can own a copy of the album digitally, a t-shirt, a poster, blah blah blah. And there will always be diehards who want a collectable, like a CD, Vinyl or A Super Duper Blue Ray ultra amazing 5.1 more real than real Audio/Video 3D DVD 128 Page Full Color (to big for your book shelf and takes up so much space on your coffee table that you can't actually place a cup of coffee on it) Enhanced Box Set Thingy.

We (bands this means you) just have to stick around long enough to capitalize off of all the changes ahead of us.

-Joe

Posted via web from Marqui Adora

Where is Art & Entertainment headed?

John sent me these two links last night...

http://www.wbur.org/2009/08/20/basement-musician

Here are some thoughts after reading them:

I agree with Amanda Palmer. She totally has the right idea.  Why the hell should you not be compensated for the art you create? The idea of every artist or band being a street a street performer and saying "Yo, give me some money!" might be a bit hard for some to adjust to, but it does make a lot of sense. Marqui Adora rarely plaid shows for this exact reason. We quickly got tired of haggling Promoters to get paid at the end of the night after playing with 10 other bands on a tiny stage not large enough for a drum kit let alone a 4 piece band and a shit PA. We knew we never going to be singing with a record label and endless touring when no one knows who you are wasn't really appealing either.  John and I continually said there has to be a better way. We went the music licensing route and even though we had some successes, when the well rain dry on placement opportunities, we quickly realized we had no real fan base, not one large enough to support us, and it was time to get day jobs. And although the music industry is in flux, some really awesome things are happening as a result. For one, John and I know a shit ton about how to fix and troubleshoot an Apple Computer and Danny knows how to expertly make your mouth water while preparing food in the kitchen. Howard can make a new tooth for ya.

With the basement musician guy... he is just as silly to me as Jonathan Coulton, but he has good ideas, just like Jonathan. And for that matter so did Radiohead with their <a href="">Thumbs</a> Down webcast videos during In Rainbows. Those videos got me excited to go see them live. And many bought the Box Sets. I paid five bucks for the record, even after getting the whole thing free a week or two before it's "Official" release.

The key here is both artists are taking chances and go about their business in ways that make the most sense to them.  Neither of their approaches will work for everyone but they will work for those who put in the time and energy to build relationships with the fans/customers.

"Bob Lefsetz says it's all about the live show, what about recorded music and all the money I spent buying recording gear and the time I spent learning how to do it on my own? Does recorded music have value any more?" 

Good question. I ask my self that question whenever I go into my office and see 10's of thousands of dollars worth of recording equipment, instruments, computers and shelves full of 12" records and CD's. I ask myself that question whenever I think of how many times I listened to "The Downward Spiral", "Broken" and "The Slip"; or the number of times I walked to school listening to "Disintegration""Pornography" and that Ethyl Meatplow record; or the time I spent dissecting "Fook", and the many drives to anywhere just to listen to "Either/Or" and "XO";  Or how about the trips to Orlando with "Ruby Vroom"  or "The Bends" as the soundtrack or the numbers of times I just sat down with headphones to take in "In Rainbows" or even most recently "xx". Of course these recordings have value!  Look at how much use I got out of them!  I see the music landscape becoming more interesting everyday and I think the value of recorded music is still there and is expanding in the form of royalties through services like Spotify. Not that Spotify is the end of the line, but it's a big step in the right direction when it comes to this topic.

Ownership vs. Access.

As for Art and Entertainment as a whole, I feel really comfortable with the idea of owning very little but having access to everything. I've been doing that for years with Movies (The Theatre, Netflix, iTunes etc.) and now with Spotify I'll be doing it more so with music (don't worry eMusic, I still love you). The People who really want the access will pay for it via subscription or buy the Album/Song/Movie out right, those who don't will tolerate the Ad's because really, they don't care that much anyway, otherwise they would own the record/movie themselves. I feel the same applies with books, TV, Radio and all forms of art that can be digitized.  When on demand services mature and every play/stream/download is accurately accounted for and reported to the rights holders and collections services, the amount of revenue generated as whole will be insane, even at fractions of a penny. And of course Labels/Publishers/Movie Studios will find their place again by delivering prominence and front page placement. It will all level out

You can't buy the Statue of Liberty, but you can pay admission and see it in person... while they're there they can buy a print, a postcard, a t-shirt, go home and download the screen saver or desktop img, etc. This applies to the Album and seeing a band live.  You can't own the band (well ok maybe you can), but you can own a copy of the album digitally, a t-shirt, a poster, blah blah blah. And there will always be diehards who want a collectable, like a CD, Vinyl or A Super Duper Blue Ray ultra amazing 5.1 more real than real Audio/Video 3D DVD 128 Page Full Color (to big for your book shelf and takes up so much space on your coffee table that you can't actually place a cup of coffee on it) Enhanced Box Set Thingy.

We (bands this means you) just have to stick around long enough to capitalize off of all the changes ahead of us.

-Joe

Posted via email from Joe Shockley

Tuesday, September 29, 2009

Thom Yorke and Flea... didn't see that coming.

"hi
in the past couple of weeks i've been getting a band together for fun to play the eraser stuff live and the new songs etc.. to see if it could work!
here's a photo.. its me, joey waronker, mauro refosco, flea and nigel godrich.

at the beginning of october the 4th and 5th we are going to do a couple of shows at the Orpheum Theatre in Los Angeles.
we don't really have a name and the set will not be very long cuz ..well ...we haven't got that much material yet!
but come and check it out if you are in the area. we've also got locals Lucky Dragons playing.
all the best

Thom"

This could be interesting. I know Flea is way into Jazz and Mauro Refosco is from Forro in the Dark which is a worldly affair, Joey Warnoker is a well established session drummer (Beck, Smashing Pumpkins, Elliot Smith, R.E.M, etc.) and Nigel Godrich... well, he's helped Radiohead sound cool since The My Iron Lung EP. So... yeah I'm curious to hear these shows.

Joe

Posted via email from Joe Shockley

Monday, September 28, 2009

The xx Live in Brighton

Still loving this record, check the link for all 7 parts of the video.

Posted via web from Joe Shockley

Light Peak transfers at 10 Gbps & could be the only connector your need.

So you're telling me that I could have one cable that handles handles everything? Cool, Bring it!

Posted via web from Joe Shockley

Wednesday, September 23, 2009

Drum processing with Depeche Mode

I found this interesting, especially since I just saw Depeche Mode a few weeks ago. What's most interesting is the number of processes the drums will go through before it reaches your ear.

When I saw the band I thought for sure the drums were sampled, meaning the drummer was triggering the drum sound from a sampler every time he hit the drum. From a live performance standpoint using ableton in this way is certainly a better option than playing triggers. To be able to have that processed sound with a live kit is really the best of both worlds and allows a drummer to have a much more expressive palette to play with.

Of course now this means I have to tear down my electric kit, set up my acoustic, plug in bunch of mics, run them to an interface feeding Ableton and then run the signal out to a PA. Sounds like a lot of work... "Hey John..." :)

Posted via web from Joe Shockley