Fellow mobilist and DotOpen Founder Rudy de Waele has drummed up some great predictions, bottom-lines and other assorted wisdoms from 20+ really great people (including myself...for some odd reason; in any case I am really delighted to be asked to contribute - thanks Rudy!), asking us to provide input on out top 5 mobile trends for the next decade.
This effort produced a very nice slideshow that really packs a punch, see below. It includes some serious nuggets of wisdom from people such as Howard Rheingold, Douglas Rushkoff, Marshall Kirkpatrick, Gerd Leonhard,
Timo Arnall, Carlo Longino, Katrin Verclas, Atau Tanaka, Alan Moore,
Marek Pawloski, Ajit Jaokar, Nicolas Nova, Inma Martinez, Tony Fish,
Jonathan MacDonald, Willem Boijens, Carlos Domingo, Russ McGuire, Raimo
van der Klein, Michael Breidenbruecker, Robert Rice, Steve O’Hear, Ted
Morgan, Martin Duval, Andreas Constantinou, Fabien Girardin, Matthäus
Krzykowski, Rich Wong, Andy Abramson, Ilja Laurs, David Wood, Stefan
Constantinescu, Henri Moissinac, Kevin C. Tofel, Enrique C. Ortiz,
Felix Petersen, Tom Hume...
Here is my stuff, excerpted (from slide #9)
1. Mobile advertising will surpass the decidedly outmoded Web1.0 & computer-centric advertising - and ads will become content, almost entirely. Advertisers will, within 2-5 years, massively convert to mobile, location-aware, targeted, opt-ed-in, social and user-distributed 'ads'; from 1% of their their budgets to at least 1/3 of their total advertising budget. Advertising becomes 'ContVertising' - and Google's revenues will be 10x of what they are today, in 5 years, driven by mobile, and by video.
2. Tablet devices will become the way many of us will 'read' magazines, books, newspapers and even 'attend' live concerts, conferences and events. The much-speculated Apple iPad will kick this off but every major device maker will copy their new tablet within 18 months. In addition, tablets will kick off the era of mobile augmented reality. This will be a huge boon to the content industries, worldwide - but only if they can drop their mad content protection schemes, and slash the prices in return for a much larger user base.
3. Many makers of simple smart phones - probably starting with Nokia- will make their devices available for free - but will take a small cut (similar to the current credit-cards) from all transactions that are done through the devices, e.g. banking, small purchases, on-demand content etc. Mobile phones become wallets, banks and ATMs.
4. Quite a few mobile phones will not run on any particular networks, i.e. without [I mean unlocked] SIM cards. The likes of Google (Nexus), and maybe Skype, LG or Amazon will offer mobile phones that [may eventually] will work only on Wifi / WiMax, LTE or mashed-access networks, and will offer more or less free calls. This will finally wake up the mobile network operators, and force them to really move up the food-chain - into content and the provision of 'experiences'
5. Content will be bundled into mobile service contracts, starting with music, i.e. once your mobile phone / computer is online, much of the use of the content (downloaded or streamed) will be included. Bundles and flat-rates - many of them Advertising 2.0-supported - will become the primary way of consuming, and interacting with content. First music, then books, new and magazines, then film & TV.
You may have seen my first announcement on Futerati, back in July 2009. The idea was to list and display the latest updates from those Twitter friends that I like the most, thereby acknowledging how important they are to my work, and directing some attention back to them.
I have met some really great people through Twitter, and have already booked quite a few speaking gigs through Twitter as well - so the benefits cover the entire spectrum; and yes, they are monetizable (if you should care about that). Here is a screen-shot of the new Futerati:
After the initial launch of Futerati (see the old site, here), I was very fortunate to hook up with NZ programming wiz and Tangerine Works Founder Nick Taylor (via Twitter!) who offered to help us to make Futerati a lot more attractive by actually displaying the images and videos within each tweet, and by turning the whole project into a really fancy feed aggregator and powerful tweet-reader. Nick was joined by my designer and web-master Benjamin Blust (of B2Media) and a really nice, crowd-sourced effort was underway. Thanks, guys!
The new Futerati now features 20+ categories of personally selected futurists, visionaries, bloggers, journalists, authors, VCs, startups, entrepreneurs, thought-leaders, artists, film-makers, technology experts, social media gurus etc. Every single person that is listed here is included because I really value their contributions and because I read their tweets constantly, myself. You can ask to be included but there is no guarantee as to if and when I can add you; right now it's based solely on showing up on my own radar screen.
Because we are still testing quite a few features such as the automatic updates and the importing of images etc, we will provide the public URL on February 1, 2010; however, in the meantime you can request the beta-test link if you want to check it out right away.
One of my favorite musicians (and fellow Berklee guitarist) John Mayer has recently launched a new site that makes very interesting use of augmented reality concepts. All you need to do is allow the flash player access to your web-cam, print out a single page with the control icon, and follow the instructions. I liked it so much I made a short video about the experience - this kind of thing will be big, no doubt; in fact, I think it will be one of those key 'new generatives' that could well be offered in premium packages going forward... stay tuned!
Wired has a related video that shows how John made the material used for this
I spoke at Internet Hungary in Tihany today (here is the event page), as promised here is a low-res version of the PDF, the high-res slideshare version is below (you can download the pdf via Slideshare). Topics: defining 'broadband culture', why and how exactly attention is the new
currency, content 2.0 and the new pricing logic, the shift from mass
media to niche media (masses of niches), why conversation
beats monolog and why social media is - really - CRM, the shift from push to pull,
'free gets you to the place where you can ask to get paid' (Fred Wilson), how sharing
generates income, the future of content, education trends, the end of
control... and much more.
Basel, Switzerland, October 12 2009 Gerd Leonhard, Media Futurist
Open Letter to Lord Mandelson, First Secretary of State, Secretary of State for Business, Innovation & Skills (UK)
The Digital Music License (DML) – why and how a new public license for the legal consumption of music on the Internet would provide a solid alternative to the proposed '3 strikes' legislation
The proposed "3 Strikes" legislation is flawed in many more ways than I could hope to outline in this letter, and many of these issues have already been addressed in many other places. Therefore I shall provide only a quick summary of some of the key issues, and then move on to describe what a fruitful, realistic and decidedly more pragmatic alternative could look like.
Unauthorized use of music on the Internet is not a technical problem but a business issue. The reasons why the global ‘free’ sharing of music via the Internet (whether streamed or downloaded) is growing exponentially cannot be nullified by technological means. Rather, the digital music (r)evolution clearly poses a myriad of business and socio-cultural problems that require us to devise a new social contract that legalizes what people actually do, and then build new business models around it.
Anyone that has attempted to innovate within the music industry (including me) will attest to the fact that the largest hurdle for the monetization of music on the Internet during the past 15 years has been the astounding absence of new licensing schemes that actually fit the 'Internet Generation' i.e. the digital natives, and the new ways of consumption that connected consumers are rapidly adopting. Bottom line: the problem is not what consumers are doing - the problem is that the music industry has not blessed it with a license yet!
Therefore, any attempt to solve these business issues with technological measures – such as the proposed 3-strikes legislation – would, with utter certainty, be very expensive, have serious social and political consequences and yet fail miserably to deliver tangible monetary results for the content industries or indeed the creators; just like Digital Rights Management (DRM) which was pushed very hard by the music industry for over a decade and has now finally been acknowledged as the snake-oil it really always was. The only outcome of the proposed 3 Strikes legislation would be to further criminalize every single consumer that is interested in music, every fan and every potential customer.
So, again, let me be pragmatic: this idea means no money for the creators, no new revenues for the industry (but even more rejection by the consumer), and still no satisfaction for the music consumers. In my view, the most pressing objective must be to solve the very real problem of how music (and then, other digital content) can indeed generate new revenues via the Internet - for the old revenue streams are the past, beyond a shadow of a doubt - just look at what is happening to newspapers and print publishing! Technology will not and cannot solve problems posed by seriously outmoded business practices.
The bottom line: controlling the flow of digital files is ‘Mission Impossible’. The challenging but nevertheless indisputable reality is that the very idea of reliably and consistently controlling the distribution of music files on the Internet is basically a technical impossibility as well as a social, political and cultural minefield. Today, the simple act of listening or streaming, watching or reading anything on a connected computer or a mobile Internet device is indeed the same as copying the content; one cannot be done without the other. The Internet is a giant copy machine, by definition, by design, and now… by culture. We may not like it, and we not appreciate it, but just like the railway was hated by the people that made horseshoes and horse carriages we have no choice but to shift what we do, adapt, and reinvent ourselves. As your own kids or any so-called digital native will tell you, access is now the same as a copy i.e. ownership - in technical terms and in terms of user behavior and mindset. Crucially, of course, not yet in terms of the existing laws and prevailing licensing practices. And therein lies the rub.
I would argue that we are in fact trying to build a new business on top of the decidedly pre-Internet principle of total and exclusive copyright – a stark dilemma that has proven to create endless friction but produce very few new revenues. The very idea of being able to control the flow of files in order to extract earlier or possibly higher payments from the users is fundamentally flawed, and we must therefore look for ways to monetize it rather than to prevent it.
The value of music is no longer (just) in the copied file. We urgently need to understand and accept that the value of music is no longer (just) in the mere copies of the digital files. Our attention needs to shift from the old - and dying - business of ‘selling the copy’ to selling everything else i.e. the many other values around that copy (some people call that 'service' ;) but starting with providing very low-cost or flat-rated and bundled access, and then creating many new revenue generators on-top of the bundled, legalized access to music. Once legal and unlimited music distribution is build-into Internet access - when Access is Content - a revitalized music industry can focus on talent, curation and marketing, i.e. the attention-getting and the conversion of that attention into actual income. And yes, there is serious commercial value in the music industry once we regulate distribution (I call this Music 2.0 - if you care to read my free book on this... here it is)
The DML: the alternative to the proposed '3 Strikes' legislation. 80 years ago, the answer to the challenge of a then-new and vastly popular technology called 'Radio' was to legalize it and provide new licensing schemes to remunerate the content creators. The same thing happened with CableTV and with the copy-machine, and the very same logic needs to be applied to music on the Internet. A public, collective, standardized and open license for music on the Internet needs to be either voluntarily created by the music industry, or mandated i.e. enforced by the government - and the sooner the better for everyone. The DML would - similar to the existing radio & broadcasting licenses that are already in effect around the world - make music available on public, standardized terms and conditions, and therefore allow any and all businesses that want to use music to do so without the utterly crippling uncertainties that exist in the current marketplace.
Revenue shares and flat rates - not fixed license fees per song. The objective of the DML is to create a new, vast, and constantly replenishing ‘pool of money’ for music, i.e. to grow the revenue potential along with the growing number of users, as well as via the many new kinds of usages that will be spawned by the DML.
In my opinion, the most crucial component of the DML is this: the license fee needs to be calculated on a revenue-sharing basis rather than on a per-unit i.e. per song fee, whether streamed or downloaded. The current practice of a fixed per-track fee (usually amounting to about 1 cent U.S. per song, for the use of the master recording) for a stream and around 70 cents (U.S.) for a download has proven to be economically detrimental and utterly unrealistic for the market participants (such as Omnifone, Spotify, Rhapsody, Napster, We7 and Yahoo). Why is this? Because of the still-very-nascent stage of the digital music ecosystem, the fact that large-scale advertising revenues for new forms of media are always 2-3-5 years behind, and given that a very large number of users - potentially all UK consumers - are likely to listen to quite a bit of music in this way.
In its formative stage, this new market does not and will not bear license fees that are fixed in this manner and that are totally unrelated to actual incoming revenue streams. Instead, the DML would need to be calculated on a flat-rate or percentage-of-revenue basis, possibly combined with a minimum 'floor' that could prevent unfair and unintended use of 'free' music as a loss-leader (if needed).
Initial DML's reserved for ISPs, telecoms and operators. Since there are many different kinds of businesses that would benefit from having legalized music available (e.g. telecoms, operators, search engines, social networks and communities, blogs, web portals, online magazines etc) but their business objectives and parameters are so vastly different, I would propose to initially make the DML only available to ISPs, mobile network operators and telecommunications providers. This would have several important advantages: 1) once ISPs and operators are able i.e. licensed to offer music bundles and flat rates, they will have every incentive and reason to monitor (i.e. count not control!) which songs are used on their network, 2) they have very large user bases which will provide for a critical scale of payments to be obtained immediately (thus significantly lessening the perceived threat of revenue loss in the physical music market), 3) they have strong potential for the integration of next-generation, user-friendly advertising integration 4) and they already have build-in billing and payment mechanisms.
A flat fee license per user, generated in a multitude of ways. When licensing ISPs, mobile operators and other telecommunications companies it will be crucial to offer flat-rate licenses rather than to pursue revenue shares which are not going to be an acceptable way of generating music revenues from this process, at least initially. Rather, I believe that a fixed, flat-rate license fee per user, per week or month, would be the most suitable way provided that suitable 3rd parties (see below) will also engage to contribute to the funding of each user’s license fee. We must not simply declare the license fee payments to be the ISP’s problem - because it isn't, and because the solution is in the creation of a new Ecosystem, a new business logic, and not in creating tax-like burdens for individual industries.
Economic experts have already done a lot of work on the flat rate model. Far from being an economist myself, I would add that a payment of 1 GBP (in the UK) or 1 Euro (in Germany, France etc) per week per user seems to be economically feasible; however the exact price point will of course need to be negotiated with all involved parties, and possibly be adapted on a yearly basis until the market is more fully developed and each party’s ultimate value position can be determined. In any case -and this is crucial - the DML must clearly be so utterly affordable that every single ISP, operator and telecommunications company would immediately apply for a license.
In terms of the actual use of the music and the subsequent accounting for remuneration purposes, I propose that it should not make a difference if a song is downloaded or streamed (i.e. played on-demand while online), and - similar to CableTV - it should not make a difference if a user would use music 24 hours a day, every single day, or just download 3 songs every now and then. All music usage would need be counted, anonymized and reported, and artists would get paid fully proportional to the actual use of music i.e. according to their popularity (see below for details).
A calculation example: a pool of 2.6 Billion GBP per year for music, in the UK. As an example, a DSL provider and mobile network operator with 20 Million UK users would need to generate funds to pay for a DML of GBP 80 Million per month, i.e. 960 Million GBP per year.
Assuming, for mere calculation purposes, an average of 50 Million eligible UK residents i.e. a large percentage of the entire UK population (~ 61 Million) generating 1 GBP per week, the revenues for the music industry would amount to a very substantial 50 Million GBP per week i.e. 2.6 Billion GBP per year, which represents almost twice the UK's recorded music revenues in 2008 (1.36 Billion GBP). Any argument of ‘cannibalization’ of existing revenue streams such as CDs or iTunes would pale against this figure. And yes, iTunes would do just fine with and on-top of the flat-rate: remember they don't sell music, they sell iPods and iPhones!
How to fund a DML of 1 GBP per week per user. The key question is, of course, how exactly the ISPs and telecoms would raise the money to pay for the quite significant cost of the DML, every week, per user. This is a crucial issue since,a gain, under no circumstances should the ISPs, operators or telecoms be made solely responsible for the financial solution of this problem; it is absolutely crucial to position the DML as a business solution that will unlock strong new revenue opportunities and will be more than cost-neutral in a fairly short time. In my view, the job of building the financial support mechanisms i.e. the ecosystem that the DML will require should be handled by a mutually respected, knowledgeable and neutral advisory board whose mission would be to 'collate' this new ecosystem and to get device makers, advertisers, premium-service providers and other interested parties aboard as quickly as possible.
Advertising is only one of the many ways to fund the DML. Of course, as in television and radio, advertising is one of the key factors that will subsidize the DML fees. The concept of advertising-supported content is not new but what will be drastically different, going forward, is the type of advertising that we will see on digital networks in the very near future. Concepts such as advertising becoming content, itself (such as in mobile phone applications) and social advertising will blossom once permission for the legal use of music is given, creating much higher advertising revenues than we are currently seeing online.
The global advertising spend currently amounts to roughly $ 670 Billion USD, per year. The UK advertising & marketing spend is forecast at approx 25 Billion GBP in 2010 (eMarketer), with - by 2012 - an estimated 25% i.e. 6.25 Billion GBP going to digital and mobile advertising. Yet, digital and mobile advertising would only be one piece of this new puzzle: handset makers could pay subsidies to get preferred i.e. 'presented by' access to users (basically a network-centric variation of the existing ‘Nokia comes with Music’ concept), social networks could contribute subsidies to legally integrate ISP-hosted music into their own networks via the DMLs that operators and ISPs would already have; search engines and portals could do the same. Imagine if Google could sit on-top of this new system of fully legalized, feels-like-free music - this is similar to how Google has already made legal music (streaming and downloading) 'feels like free' in China.
After an initial set-up period, it would be crucial that an ISP or operator that makes use of the DML would be able to fully recover the DML costs through a multitude of new revenue streams, such as next-generation advertising, the sale of mobile applications based on the unlimited availability of music (such as social music and play list applications), subsidies by CE companies i.e. handset and device makers, data-mining and cross-selling (with careful consideration to consumers’ data protection and privacy, of course) and various forms of up-selling of other product and services (including music-related premiums) such as the games industry has been offering for the past decade, already, or even by re-packaging some of the license costs to their users.
The DML is NOT a tax. Any indication that the DML essentially amounts to a tax or is yet another compulsory payment scheme levied onto the consumer (such as the existing TV & Radio licenses) or a particular industry needs to be avoided, at least in the UK market where such a proposal would probably be politically unwise. The DML is simply a new license that is made available to businesses that want to use digital music, with the funding being generated from the market participants, themselves.
Monitoring of usage and fair payment to content owners. Every song that is performed i.e. streamed or downloaded on the Internet would need to be tracked and accounted for, using already available software solutions such as Gracenote or Shazam. This data would need to be made anonymous using a mathematical formula that would protect each user’s private data while still providing actuarial tracking of which song has been used how many times, on any given day, week or month.
Each artist and rights-holder would then receive a monthly payment that is proportional to the actuarial use of their music during each tracking period, e.g. if a given artist’s music was used 1.3% of the time (e.g. in any given month), he or she or their representatives (record labels and publishers) would receive 1.3% of the total pool of money collected. All participating creators (e.g. writers, lyricists, composers, producers etc) would get their proportional payment from the same pool. I am advocating a 50-50 split between the composer and the performer (i.e. recording and publishing), at this time. Overlaps with existing rights schemes (such as public performance on the Internet, and so-called web-casting and Internet-radio) would need to be investigated and addressed, as well.
Existing examples: similar models to the proposed DML are already in place, or are being investigated in:
Please note: this short letter cannot possibly answer every question that may arise if this proposal is further investigated or realized. Rather, I intend to make the case for why the DML would solve the pressing problem of legalizing and at the same time monetizing the many new ways that consumers use music on the Internet. Please keep in mind that most of the suggestions outlined above are still quite basic; prior to making any precise recommendations in regards to possible implementations a lot more research and input from all involved parties is required. Also, while my suggestions should be applied to digital music only, at this time, I do foresee similar developments within other digital content sectors such as motion pictures, TV and books - albeit within a wider timeframe (i.e. 3-5 years).
I contributed to a fun event at the Host Gallery in London tonight, organized by Canvas8 (where I am involved as one of the adjunct thought-leaders): "Twitter,
Facebook, Spotify, Tripadvisor, Augmented Reality, Smartphone Apps,
YouTube – the range of technology choices for brands wishing to engage
with consumers is huge. For many these are uncharted waters, and these
technologies can raise more questions than they answer.
This
time the theme of ‘The Changing Face of Media’ is emerging technology.
Based on the speakers’ experiences it asks the question: how can brands
best use technology and not be used by it..."
As promised, here is the PDF from the event, below (click on the Slideshare link to download it, or embed it on your blog) Enjoy. RT. Superdistribute. Mix & Share.... Picture on the right by James Cridland via Flickr
This interesting video was created by the cool Amsterdam-based crew of FreedomLab and is part of the "Penny for your Thoughts" series which has a great selection of key people and influencers contributing their thoughts on many current issues. I am tickled to be part of this (this video will be added on their page soon - so you are indeed getting it on my blog first!)
This video juxtaposes some sound bytes from an interview with me with some cool graphics, ticker-text animations using my spoken words, and various illustrations. Topics: well, as you may have expected, this is mostly about media and the future of content: distribution is no longer the core business for media companies. Why open licensing platforms are so important. The move from selling copies to selling access - how will that be monetized? How will content be curated, recommended and then... monetized by the Creators?
Apart from my Youtube channel (click below to go there), you can find many more videos at my Blip.TV channel (includes downloads to iTunes for offline viewing). My entire Futuretalks DVD with my collaborator Glen Hiemstra can be downloaded here (yes... for free)
Today, I spoke at Tokyo 2.0, on the subject of The Future of Digital Content - Free vs Paid (Content 2.0). Because this is one of my main topics I have a lot more stuff available on this; please visit my Free Content page to download many more pdfs, videos and books.
From the event description: The Internet is forcing the content industries (music, film,
publishing, news, TV, print etc) around the globe into reboot mode as
far as their traditional business models and monetization strategies
are concerned. Always-on, hyper-networked, location-aware, ever faster
and smarter yet more affordable mobile devices are further escalating
the urgent need for the creation of a new content logic; a new
ecosystem that involves device makers and CE companies, ISPs, mobile
operators and telecoms, search engines and Internet portals, content
creators and media companies, as well as brands and advertisers. New
players are emerging from these sectors, and few paradigms will remain
untouched.
Who will get paid for what, why and how?
How will content be 'sold' online?
What about bundles, flat rates and subscriptions?
Where does advertising and mobile commerce come in?
Download the PDF (16MB, Creative Commons License):
I was invited to present at the InsightExchange event in Sydney, Australia, yesterday, on the topic of Content 2.0 and the Future of Marketing & Advertising. Other speakers included fellow Futurist Ross Dawson and Craig Davis, Chief Creative Officer of Publicis / Mojo.
From the event description: "Futurist Gerd Leonhard will talk about the key trends and developments from around the globe, depict the most likely scenarios in the next 3-5 years, and describe opportunities that will arise from the global change to a networked and fully converged ecosystem of Content & Media, Marketing and Advertising"
Some high-lights:
We are only beginning to understand the huge shift from disconnected to connected 'consumers'
Connected people act / consume / behave / communicate VERY differently
Mobile broadband-powered content sharing is going to reset the content industries
The disruption has only just begun
Captive consumers are rapidly vanishing
Advertising and marketing as we knew it is no longer going to work
Advertising IS CONTENT
Here are the slides I presented (and a few extra ones that I did not actually get to); you can download the 26MB PDF via slideshare, below, or via this link. All content is made available under the Creative Commons Non-Commercial Attribution license, except for 3rd party images as inidicated.
Some of you may know that I went to Berklee College of Music ('86/'87) and studied Jazz guitar. I have kept in-touch with Berklee throughout the years and they just published an interview with me, in the Alumni Magazine"Berklee Today". Here are some of the high-lights:
"Leonhard has long advocated a shift from tight
control of products and copyrights. In what he refers to as the "link
economy," the new commodity is the public's attention. In this climate,
he predicts superstar status will be much harder to attain-and
sustain-as the marketplace experiences further fragmentation and
mainstream artists compete for attention with lesser-known artists in
specific musical niches..."
"In the link economy, the product is the
marketing," says Leonhard. "If you want to promote yourself as a
musician, you publish and make everything available on the Web so that
people can pick it up and go elsewhere with it. If they like you, they
do the marketing for you by telling others and sending links around. In
the old days, if you were a star, MTV or the Letterman Show
would recognize that by putting you on. Today, your fans recognize your
value and send your links to friends, who send them to more people.
This is what makes someone a celebrity on the Web. And you can't buy
that; you have to earn it."
Too many musicians believe that playing gigs
and selling CDs or digital copies of their music are the primary ways
to make money. "We have to do away with that mentality, because there
are 50 other ways a musician can get paid," says Leonhard. "In the new
music economy, you need to build an audience and energize them to act
on your behalf and forward your music virally. Later, they can become
paying customers. Don't ask them for their money first. Once fans are
sold on you, you'll be able to 'upsell' them special shows, backstage
passes, webcasts, a live concert download, a multimedia product, your
iPhone application, a premium package for $75.
"When musicians start thinking of themselves as brands, like Nike, they
will see that they have more assets than just the zeroes and ones that
people can download. Other assets are their creativity, the way they
express what they experience, their performance, and their
presentation. As a musician and composer, you stand for something. The
Web allows you to publish things that showcase who you are and what you
do. In 10 minutes of clicking around on your site, people will be able
to understand who you are if you've put enough out there. Even in a time when many have predicted doom and gloom in the music
business, Leonhard is optimistic. "Current developments are good news
for the artist-provided he or she is good. You have to be different,
unique, and honest; have a powerful persona; and know your brand. If
what you are doing is real and you are forthright, people will pay you.
It's all about the creator and the person who wants the music.
Musicians of the future will do well if they can view themselves as
more than someone who wants to be a star and sell a lot of records."
I am trying to figure out if virtual i.e. remote, public presentations can actually work, and if so, what tools to use, and if I should offered webinars for free or not (and if not, at what price point I could offer them, and on what topics).
The most often requested subject for a presentation is, by-far, "Music 2.0 - The Future of the Music Industry". I get about 2 inquiries or speaking invitations per day on this topic; guess that's because of the various books I have written on this (The Future of Music, Music 2.0 etc) - so this will be the first topic for the webinar series.
On Friday, July 31, at 5pm CET, 4pm GMT/UK, 11 am EST, 8am PST, midnight JST and 1am (next day) AEST, I will present my first free webinar on "Music 2.0 - The Future of Music". This first session will be FREE; in return I may simply ask you for some feedback and your patience while I am figuring this out. Future sessions may well be free, as well - I am working on that, so stay tuned!
I will be using Drop.io and this is how you can join me (no registration is required - just show up):
Join the presentation once it's active; it will tell you on the screen. I will start the intro-page 15 minutes before the times listed above; please be sure to add your real name when the box comes up (if that's ok)
Call this (U.S.) number to hear me talk or ask questions live: +1 218-486-3891 x 956827539 (sorry, drop.io does not offer local dial-in numbers yet). Note that the Chat Tool is part of drop.io so you can just use that to communicate with me, as well (but there is no listening feature, yet)
I will provide the PDF when you log in, but in the meantime you may want to check out my many other presentations on this topic by browsing my slideshare PDFs.
I look forward to seeing you at the webinar - and please be patient for this inaugural edition if any technical issues arise. Thanks - and spread the word.
Alright then... you don't think "Music 2.0 in 90 seconds" is enough. You don't think 3 minutes really do it, either. You liked the PDF but you want the talk. I heard you. So here is the full 18 minutes of Music 2.0, in 2 parts, thanks to the ingenious Youtube limitations (but hey... it's HD now so why am I complaining?).
Here is a link to the MP4 file (410MB) if you want to watch on while biking in the woods;) Plus: remember that you can get it all for your iPods and iPhones by subscribing to my GerdTube.net / Blip TV iTunes feed (except for this one, though - for some reason the encoding just won't work for this file).
Keynote Speaker, Think-Tank Leader, Futurist, Author & Strategist, Idea Curator, some say Iconoclast | Heretic, CEO TheFuturesAgency, Visiting Prof FDC Brazil, Green Futurist
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=78ef35b0-11d3-464c-a384-530b639f38e2)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=48e1b4ff-698c-4141-85bd-51e2c2803d2d)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=03f7e4b8-ad47-4491-8ca2-ff1bc9d2cc54)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=8ea24b5e-b6be-4419-b7c6-af7f63c28d3b)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=c68712e6-42a1-43f9-8b59-486527d4a0ad)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=47ea11eb-dee8-46eb-aff7-9c0e7fc15059)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=94492c3b-5c7a-41ca-aac3-e52800201d63)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=74a264fe-47ab-4264-9fb4-b80d194ef0ff)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=44bc4639-e7c9-4682-9be2-3663dde92d46)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=468fb363-acd5-421c-ba0b-5d129cdd2542)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=a95ef532-bd55-46b6-ac9f-d3e3eb83d67d)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=e84943f9-e57d-405f-9fe2-33b48ebea86e)
![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=40d81070-edaa-4241-8e76-b9dbed2e1e2e)
Recent Comments