You can download it as a 96kbps MP3 here (24.1 meg, 37 minutes).
Additionally the full transcript is below. To distinguish between us I've indented Gerd.
Transcript
Good afternoon Gerd, how are you doing, today?
I'm doing fine. It's snowing here, in Switzerland.
It's always snowing in Switzerland.
Not always [Laughs]
Not always, so you have some time off. Okay, so I know you only have a short amount of time, so let's jump into this together. I want to start by saying thank you very much for speaking at the Emerging Communications Conference taking place next month, in March.
You're welcome.
I might as well begin by asking why you are attending and kindly speaking; what value do you see in it?
To me, of course, the Bay area is more or less a second home. I lived there for seventeen years. I also find that still, a lot of the great inspiration and the great people I talk to are still based in the Bay area and in the valley. For me, it's a little like a homecoming thing, and also to get inspiration. I'm very impressed with the program and the sheer number of interesting people. I'm looking for this to be sort of a giant - everyone that you know from Twitter, Facebook, LinkedIn, or what have you, are probably going to be there, one way or the other. That's what excites me.
It's a fantastic social gathering and a fantastic place. I must admit; call me biased or not, but I'm exceptionally looking forward to it.
I want to start by asking you what is a "media futurist," this self-assigned title you've given yourself? Do you want to expand on what a media futurist is?
Unfortunately, there is no [0:01:36.2 icon?] for titles, like an organization that gives them away. This was essentially given to me by my clients who say, "You always talk about media content and entertainment and the future, so you're sort of a media futurist". After this happened to me around a dozen times, I said, "Okay, that sounds like a great title." There are a lot of futurists, but I specialize in media.
By and large, I'm not a futurist, like Paul Safo or people like that who are actually real futurists, being sort of generalists and very bright people. I focus on media, which basically means content, technology, and entertainment business models that have to do with print, publishing, music, films, and all that stuff that is with the hairy questions of "How do you make money in the future, and what are the models?"
I don't quite see the futurism in the same light as saying twenty years from now, we'll be living on the bottom of the ocean. I really look at the next two to five years, so it's really more like a "presentist" in many ways, or even historian...
"Near-futurist"
It's a near futurist and it's basically a working title. I that think sometimes people are upset with the idea that I, or anybody else, could actually predict the future, which of course, I'm not doing.
You find yourself at a more telecom/com focused conference. What is the relationship between media and telecom/communications?
The past couple of years have shown that now that the owners of networks, ISPs, operators, and telecoms have to get involved with content and media because what's happening now is that those areas are converging. Telco has been, traditionally, more outside of this turf. I wouldn't call them DUN pipes, but in many cases, they've called themselves that. They are outside the idea of social media or social interaction or content, entertainment, except for the various trials of integrating it. Now, they're converging in the sense that they actually have to work together to create a new business. There really is no future of the content business, I think, without making a deal with the telecoms, and probably vice versa.
I hate to jump right into the deep end, but could you expand a little upon that? It's quite a shocking statement to be making.
Basically, we're seeing that with increasing broadband penetration around the world and the penetration of wireless devices at high speed, we're looking at a situation, in two to five years, where there is going to be a billion people networked, interacting, and trading content; first it will be music, then films, television and eventually books.
If the networks don't work with the content owners to create new business models, essentially, we will be looking at a situation where everybody does it but nobody is legal. Nobody could actually make a living of it because there is no real lubrication of the system. In other words, governments will be asking the operators to clean up the networks and not have free content, or illegal content? Content owners will be asking for sanctions and technical protection measures and in the meantime, all of the users will be doing whatever they can to circumvent. That situation is not very fruitful for anyone.
What we're seeing, right now, is that people are trying to build, what I call, a "twenty-first century content economy," which means that it's no longer going to be about selling copies. It's going to be about selling access and sharing the revenues, as we've seen in many different aspects on the Web; sharing revenues is a scary proposition for a lot of content owners but it may be the only way.
Sharing access - to me, you think that as soon as one person gets access, they can set up their own distribution, Peer-to-Peer, and then only one person ever needs to pay for access.
Absolutely, yes, but of course, you wouldn't do that if your access is bundled, right? I'm not saying the access to the Web is going to be taxed for content, or charged extra; I'm saying that the smartest way to do this is to bundle access to music and then other content, into the access to create an ecosystem where money is being generated by all kinds of ways, including advertising, sponsorship, device manufacturer subsidies, and so on. In that case, music in this case, feels like free to me but it actually makes money.
So, you're thinking it's part of your broadband monthly payment. It's inclusive of music, for example.
Absolutely, and I think we're seeing this, already, being trialed around the world. The Isle of Man has a trial. This is a small island, but actually, it's a separate government right between the U.K. and Ireland. You should know. [Laughs]
[Laughs] I know the Isle of Man, a handy place for many.
And many other countries, including in China, Google has a flat rate at [0:06:56.4 unclear] with their own search engine. There are many debates, all around the world, because the only solution for this problem is not to criminalize the users or to tax them but to create an economically viable system that can grow and generate revenues of all of the involved parties, which of course, includes CE device makers, mobile phone companies, manufacturers of devices, advertisers and so on. I've written about this, many times. My war cry on this is really taken from Larry Lesick, who says, "Compensation not control is the way that this is going to work".
So, you're not a believer in DRM, at all?
[Laughs] You wouldn't have asked that if you had read all my stuff. [Laughs] This business model for protecting content has nothing to do with technology. Technology doesn't exist that can protect at least music, other content we can debate it even though I don't believe in it. For music, DRM is dead because it has proven to be a total turnoff to any user, anytime, anywhere.
Surely, iTunes is the most popular music store ever. I don't know what the percentage of music consumption via iTunes is, but it's DRM'd.
Yes, of course, that being the large exception, however, iTunes is a phenomenal success for selling iPods, not for selling music. I love iTunes; I love the Apple stuff, but this is something we have to clearly see. They have done a fabulous job doing it, but six billion songs or so that they've sold in four years is huge, but it's not going to drive the music economy. It drives the iPod economy. [Laughs] If you're looking, in the end, how many songs on an iPod that have been purchased, I think that percentage last time I looked was under 5%.
I do have to apologize. I have not been following what's been happening with music, closely at all. The general perception I was getting from the odd article here and there was that music itself was going to become free and there would be disintermediation between artists and consumers of music. The music would be free and the money would be made from gigs, and so on. It made sense to have people sharing your music on Peer-to-Peer networks, therefore, because it raised the level of awareness of the artists, which helped them sell t-shirts and gigs, and so on. Is this some kind of totally out of sync picture that I've absorbed, somehow?
No, I think this is the right direction. I wouldn't be as drastic as saying that music is free, in the sense of music not being paid for, for the creator. I think it will feel like free; it will be free for the consumer because the commercial model being built around it will make it essentially a bundled experience, at least on the first level.
When you buy your mobile phone with a certain operator, they bundle the music in it and you can do whatever you want with the music. It's all just blessed as being part of the environment. This is essentially like radio and T.V. You don't have to get a license to listen to radio. It's already bundled, obviously. A hundred of years ago, that happened.
What we're looking at and this is what Chris Andersen is talking about in his new book, Free and also The Long Tail, of course, that the experience in itself can raise enough money to pay for the content because by and large the music industry is only a $22 billion or $23 billion business worldwide. You can easily calculate how much it would take for all users to raise enough money in the network to pay for this.
I must admit; it's not huge. That's not a huge mark at all. It might sound huge, but it's actually relatively small, especially if you compare it to telecoms industry.
I essentially see the telecoms as becoming the key platform for the monetization of content because essentially, all of the artists and creators want to go direct. They want to reach their audiences directly rather than through, necessarily, News Corp or Fox or what have you. Of course, they will still need them and want them but ultimately, going direct is the goal, and the telcos can do this. They have the direct connection to people who pay their bills with their mobile phones. That exists.
So why - I'm kind of wondering why we need an operator in the picture? Why does an operator need to know about content; just give me the pipes; artists can get their music out in Peer-to-Peer networks or however. Why does there need to be a relationship set up with the telcos, unless your idea is to provide revenue stream from the end users?
It's quite simple; as long as the telecoms and the operators are not licensed to actually have music, which today they have music but they're not supposed to acknowledge it because the music isn't legal on the network, it's just being illegally transferred. The key is; as long as they're not legal, they can't actually make it work because they can't build anything on it. They can't use the data to sell anything else. They can't up sell from the music, to concert tickets or live recordings or video on demand. All these things can't be done because they're not supposed to even have the content, in the first place, at least not in the legal way.
You're building an awareness between the content level and transport level. I can't help but have the feeling that the transport level maybe should be blind to what's up above, and what's up above, let them worry about providing up sell to concert tickets, and so on.
Of course, except that this system doesn't work. Clearly, the faster and the cheaper that people connect on mobile devices; this kind of sharing of content is going to absolutely explode. That's actually a good thing. But, if nothing else can be built on top, then you won't see any way of monetizing this outside of the network, itself. I always say, "Essentially, the future of content is the crowd and the cloud". In other words, it's the people using it and the cloud where it sits. If we can't interconnect the two and create, essentially, a new logic of how the whole thing turns around, like Google has created their own advertising logic and Twitter will probably create their own logic, as well. If we can't do that here, then the value just drops dead, left and right of the system.
So, I have to play the Devil's advocate, a touch, here. Do you think if that happened, that people would stop creating content?
No, I don't think so. People create content for a lot of reasons. [Laughs] I mean, I should know; I used to be a musician and producer for a long time. I think the question is not so much that they should get paid; I think the benefit of this whole thing working creates monetary and other benefits to everyone in the chain. Governments can stop worrying about so called copyright infringement; record labels can stop worrying about distribution because it's built in; artists can stop worrying about having to find somebody to police on their behalf; and the whole system can become sort of functional again.
Essentially, what we have now is a dysfunctional system. That, in the end, can't really be good for anyone for social, cultural, monetary, or a lot of other reasons. I think there is benefit in figuring this out together. This is always what I will talk about in my speech; how will this work and why do we need this?
For example, do you feel we need record labels, still?
I feel that we need agencies. There are many great examples. For example, Terry McBride and his company in Vancouver, called Network Records. They serve as an agency where they help the artists develop, select songs, and basically do the right development steps. Then, they put them on the Web and market them and take a cash percentage off of the top, unlike most record labels, which took 90% of the revenues from all sales. This model is an agency model and that is what the labels are going to do, become agencies.
I just can't help myself but see it become such that hits are decided via "crowd sourcing". Surely, millions of people can decide which songs are better without having five or six people in the middle trying to help that decision. I just find it hard not to see complete disintermediation, but maybe that's just me and maybe you can change my perception that complete disintermediation will not happen.
I think it will but at the same time, this is not an either/or process. A lot of professionals will be involved in picking artists and songs, so early, that none of us would even see anything there. This is an art form. This is not a vote for a campaign. [Laughs] This is basically not a democratic process; [Laughs] if you go to identify what people will like, two years from now, and then nurture it along, you are going to need more skills than a search engine.
I think all these things, together at the same time, will create the play list and the labels of the future. I always say it could very well be that the bloggers and the blogs like Hype Machine and Elbows and so on, are the next labels. They are essentially doing that too; they are selecting content. I believe that 90% of us, in the future, will probably not go through the trouble of making our own play lists and everything; we will do it through our network. We will be sourcing play lists and content through our network that will include professionals, professional amateurs, and total user-based voting, or even machine intelligence.
Machine intelligence is certainly a nice one. I wonder if you are saying that the deals will be struck, such that when you pay for broadband access, you have access to music; surely, that might end up with the situation where if you are one ISP, you have access to Sony music, but if you are on another ISP, you only have access to EMI music. Is that not a bit strange, that situation we could end up in?
You bring up a good question. The authority for the ISP and the operator to have music cannot be based on individual negotiations. Then, you end up with models that are what I call "private flat rate". [Laughs] That wouldn't work because the consumers don't care what the label is and they wouldn't know.
This is very much like radio or television; when you play music on radio, you can play any music you want, from any label, anywhere in the world; it's all covered. This is called a collective license in the music business, and it has worked well for radio and many other models. What we need for the Internet is a collective license where you can play any music you want, as long as you report the data and usage, then a pool of money is being generated, and then you are covered.
Somehow, the ISPs and telcos need to become connected to this model of sucking in revenue to pass to labels/content creators.
When you create a model to where all of us, roughly about 1.6 billion now, but pretty soon about 3 billion people connected to networks; if we can gather around music, and actually use it and forward it and exchanges it and remix it, we create a huge opportunity for a lot of up selling, including video, audio, games, and so on, like Amazon already does, and there are many other opportunities, of course, next generation advertising, like you can see now with [0:19:32.6 unclear names] and Bacardi, that sort of interaction of brands and music. We create a huge ecosystem that is very powerful to monetize. We won't see it until we actually have both things in place, which is the network, the crowd, and of course, a legal way of using it.
But, the business model is only adding "a surcharge" onto your access cost.
It's not a surcharge in that sense. I think it is a little bit hard to understand if you haven't really looked at the music business in detail. Radio is licensed by law. If you start a radio station in the U.S., if you get a frequency, or whatever cable channel, you know what to pay. There is a standard license in place. I think it's 2.2% of the revenues or whatever. That is what you end up paying.
We need exactly the same license for the Internet. If you want to stream on demand, it's x%. If you want to download as part of the package, it's $x per user. That can be leveraged against the money that is being made in the network. The radio station owners don't pay for the music. They let the advertisers pay. We end up with free music.
Okay, that certainly is what I would call an interesting thought [0:20:50.5 unclear]. It will be really interesting at the conference, if you could expand upon that.
I think that obviously, this discussion is not widely happening, all over Europe, because the record industry association, the IFPI, has been asking governments to put laws in place to essentially disconnect people when they have been proven to download music. Now, you are not going to go to jail. You are going to get disconnected from the Internet if you are a downloader, which is another ludicrous way of solving the problem.
I agree with you. Is this push to disconnect users, which is being forced on telcos and ISPs, is this only Europe or is it North America, as well?
They are trying to roll this out, worldwide. This is the alternative to the lawsuits, which the RAA announced six weeks ago; they are going to stop suing people. Now, instead of suing people, which has been totally unfruitful, out of the 30,000 lawsuits or so, only one went to trial. It was then declared a mistrial. It was a complete disaster. Now, they are switching to a strategy of saying, "If this person downloads and uses Bit Torrent, or whatever, unplug them". They want the government to support this law.
In Ireland, the ISP Irecom, has already said they are willing to support this, while in Germany, [0:22:23.2 unclear] in the U.K., they have all said there is no way we are going to go anywhere near this. They know what is next. Everybody is going to ditch them. [Laughs]
I would agree, but again, I haven't been following the evolution you appear to be sharing, but again, the last watch on my radar was that you're getting encrypted Peer-to-Peer networks.
Here is the thing about Peer-to-Peer sharing. People downloading from Peer-to-Peer network has become a minor activity in regards to how music is being shared and exchanged. Now, the big thing with kids is not even download, but just share playlists on the many, many streaming on demand services, including Project Playlists, and Song Czar, and Schemer. There are hundreds. You don't even download, anymore. People are sharing music through Rapid Share, through Facebook, the streaming apps through USB drives. This whole emphasis on Peer-to-Peer networks is the past.
You've been talking about content 2.0. Can you tell me what you are meaning by content 2.0?
Of course, it's kind of a senseless headline, very much like Web 2.0. Nobody really knows what that means. Basically, content 2.0, for me means a new logic in the content business. This is really, where we are heading, right now, because it used to be quite simple; we sell units. When you sell content, you sell units, meaning DVD's, CD's, software licenses, licenses for T.V. shows. Those are units, basically. When you sell units, you can count them. You can hunt people who make units without permission, and so on. It is all very easy, or more so than today.
The future of content, the next generation, will essentially be selling access and then the units. We're going to have to figure out how we can make money in a model, to where the first action is a click, rather than inserting a CD into something, or a DVD that you have to buy. When that click becomes part of my natural environment, like I'm carrying the Android phone and click on a button, and I hear my favorite artist streaming, what kind of economy of content is that? Who gets paid for what? What is the value chain? This is what I call content 2.0. Of course, it's going to be quite a debate figuring out how this kind of content creates enough juice in the ecosystem to create more stuff.
Now, when you are talking about the future of content and telcos, do you see it being a clear cut legal or tentacle solution, or both?
[Laughs] Well, clear-cut - I wish it were. I think that what we are seeing right now, just like the switch from Bush to Obama, is essentially a switch from domination and war to collaboration, at least, from my idealistic point of view, here. [Laughs] I think we are looking at the very same situation here. We are going to have to collaborate to figure this out together to create a business model that works for everyone. This is not something that one company can fix or one piece of the ecosystem should pay for. In other words, the payment isn't going to come from the telcos; it isn't going to come from Google; it isn't going to come from the user only; it will come from all of them, but just in a little bit.
This is where the collaboration comes in. For that to work, we need the telcos to step up and all to take a piece of the action, just as well as the content business. If the content business goes on as they have been, especially in music, which essentially means to refuse the license, then I don't see any way for this to go forward.
Okay, are you aware of the Martin Geddes talk, at eComm 2008, when he was talking about the double-sided business model?
Yes, I did.
Do you want to pass comment there? I can't help but see a huge overlap.
Absolutely, I think that is basically - of course, two-sided business models, in general, are the way forward for a lot of companies, not just for telcos. They are creating a new vortex, where you can surf the left and the right, rather than just one side. I agree very much with the Telco 2.0 people, also with Simon Torrence, on this whole scenario of having to have this. If it is only on one side, it isn't going to create enough revenues and future possibilities because you will become marginalized.
I'm glad you see a strong overlap. Martin would have spoken a lot about how telcos could aid the whole distribution of content and charge for that in various ways, and that the future of telcos is to out distribute your competitors.
Let me turn back to this access model. I know you've indicated it is more complex than what I thought was just a surcharge. I have to say; surely, it will end up with film producers then saying, "We need films covered with this, as well".
Sure, ultimately the power of the network is going to have enough payment in it for most of the content to be transacted upon in this way. The difference, however, is that music is something that is basically like air. Everybody always has music, somewhere, followed by electricity or air - or the other way around. Movies or games are a little bit - people have to dedicate time to them, right. Video clips, five minute things, yes, but ultimately, there is a different value chain for movies. There is also different up selling. I would be more than happy to pay more for HD and high quality movies, but I'm not so sure I'd pay a lot more for over sampled mp3. Most people would feel the same way, I think.
There is a different mechanism in place, here, but you're right; in the end, of course, all of content is heading in this direction. We have to figure out how to make this work, more or less for all of it, but it will take a lot more time for books or films.
I need to ask a typical question here because I am always looking for where opportunities are. Do you see opportunities for telcos?
I see both the opportunity, as well as the necessity for them to get engaged. This is a situation that has to be resolved in the next year or two; I wouldn't say on a global level, but at least on a developed-nations level. It is a huge opportunity to get a foot in the door. The content owners, especially in music, are desperate for new mechanisms and they like the idea of the flat rate. If they can get over their fear of being outmoded, in the process of giving distribution into the network, this could be an extremely powerful system and a lot of people from major labels, including Rick Rubin, from Sony and Columbia records, has said, "Is music like water, like David Bowie said, ten years ago". That is the way forward.
Finally, I would like to ask you about copyright versus usage right. On a quick look at your blog, you seem to speak about usage right and copyright. Can you tell me what the difference is? That's the last question.
I think that it's quite obvious that traditional copyright, as it is right now, gives the exclusive right of reproduction and of use, to the creator and the companies that represent him. I cannot make a copy of a song and publish it. I'm infringing. Because of some of these traditions being fifty years and plus old, we have a real issue that anything that we do on the Web creates constant infringement of copyright.
The reality is that all the stuff that is fun on the Web, with music, is probably not legal. That includes streaming on demand, remixing, synchronizing to video, because of this exclusive right. I don't think that in particular, there is anything wrong with exclusive right; I'm just saying what we really need, in addition, is a usage right that makes money. I would much rather see a deal in place that says, "YouTube videos can be put with music, as long as the music gets a part of the revenue share. If it's non-commercial, let's just make a deal and collect". That would make a lot more sense than saying, "No, you can't use it, under any circumstances," which is not realistic, and remove them all.
I'm essentially pitching this change from control to compensation, to be enshrined in the law, as well, that gives the legal right for people to use the music and just compensate as part of the process.
I think it's well known that my favorite book is Yochai Benkler's Wealth of Networks.
I totally agree, same here. [Laughter]
Okay, so you love that book too. It's an absolute art piece. You just feel it's a lifelong piece of work behind that book.
I have a huge stack of books here, but Yochai's book is still blocking the reading of all the other ones, [Laughs] so I couldn't agree more. [Laughs] I think he has unlocked a lot of truth and forward thinking in that book. I would definitely concur. That's pretty much the bottom line. Read the book and then we should know.
He will very much speak about the battle of the incumbents of the twentieth century. Can you pass any last comment on if you see what we call incumbents of the twentieth century continuing, or if what we'll see, is fragmentation into smaller units collaborating and so on?
I think, in general, in media and in content, if you can't collaborate in the future and create win/win scenarios, you probably won't be there. If you can dominate and basically run the show, if that's all you can do, you will probably be faded out. This kind of model is as old as the Bush model was, which is to go forward and start a war.
I think, basically, it's all about that. If the big media companies and the incumbents can collaborate, if they can truly work out something together, rather than saying, "I win, you lose," which worked just fine. The Russian president calls this the "economic eagle-ism" and not to sound like a socialist, here, [Laughs] but this is a solution we have to find, together. If they can do that, I think they will be there. I think that in music; most of the large, international companies will not be part of it because to do this, in this way, just doesn't fit their business paradigm. It's not the ROI plan that they had in mind when they got into the music business.
Okay, I've got you, and maybe being in Switzerland too long, you're getting indoctrinated. [Laughter] I very much appreciate the time, and I appreciate the fact that you did it when time is very tight. It's been very good to touch base with you and at least get a taste of where you are coming from. I really look forward to the 20-minute keynote that you are giving, in a few weeks time.
I look forward to it, and if people want to connect before that, it's on my blog - www.mediafuturist.com, or my Twitter, which is gleonhard, just like the name.