Don't Get Snipped and Sold

The Music Data Problem

2009-10-21T11:45:00.004-05:00

John Loken’s blog post a couple weeks back got me thinking about a post I’ve been meaning to do for months, but have been too swamped to actually spit out. The post, titled “More Metrics Please,” is, as the title suggests, a plea for metrics on par with the TV business.

Some of this data has been collected in the past, but for various reasons (the biggest of which being the market and channel control by the majors) almost all data points beyond Soundscan and Billboard charts seem to have been ignored. Now, however, there is a perfect storm for music data: more artists than ever before, more listeners than ever before with easier access through more channels than ever before, and more technology for data collection than ever before.

Put simply: music data is both more important and more available than ever before.

This shouldn’t come as a surprise, and John is not alone in asking for more data. Companies are springing up left and right to help answer her prayers. Companies like Next Big Sound, BandMetrics, and Music Metric are busy collecting third party data from around the web in single dashboards. Companies like Bandize and Artist Data are helping bands organize their own data. Companies like HypeMachine and Elbo.ws are aggregating marketing/A&R data in the form of blog and Twitter charts. Companies like Songkick and Gigulate help fans track basic concert data and music news, respectively, creating interesting data sets that are sure to surface soon.

The issue isn’t in the data collection or availability, it’s in the connecting, processing, and understanding. Like all data, the points themselves are completely irrelevant without context – a MySpace play doesn’t inherently mean anything, nor does a friend on Facebook. Data can only be understood with relevant ratios.

Connecting the data might be the biggest obstacle at the moment, but I’m hopeful that will change. It’s primarily an issue of a few major players (namely, the retail channel) not having open APIs, or sharing any of the data with the artists – when a fan buys an album on iTunes, that fan data belongs to iTunes and iTunes doesn’t want to part with it.

The other obstacle in connecting the data is the breadth to which music discovery, engagement, and purchasing have spread. You used to get your discovery metrics solely from radio numbers, your engagement metrics from concert tickets, and your purchasing metrics from Soundscan. Now discovery can span blogs, P2P, internet radio, and beyond, engagement can be a play on a blog, a MySpace page, an iPod, or anywhere else, and while record purchases are still largely covered by Soundscan, records are an increasingly small portion of the overall business picture for an artist.

Pulling all that data together is not easy, but I think it can be done as long as those collecting the data are ensuring it’s clean and are willing to make it accessible. Purchases should be easiest, as long as retail channels come around. Last.fm and Twones are handling engagement fairly well (though neither has all the necessary channels covered, by any stretch). Discovery is incredibly tough without having the engagement piece nailed – if you don’t have a view of all a fan’s engagement data, how do you know the first time/place they interacted with an artist?

Progress is coming, but only as a stream of one-dimensional data points. More radical change is needed in order to get to the ratios that are truly relevant and key to making informed business decisions. We need to be able to close the loop on fan data – how fans move down the funnel from discovery to engagement to purchasing. Knowing that you had a spike in MySpace plays around the same time you had a spike in iTunes sales shouldn’t be surprising, and is thus practically worthless (if you didn’t see a spike in sales, it would indicate a strong PR effort but not a high enough quality product for fans to take out their wallets, so the data isn’t totally worthless). Knowing that the majority of the folks who purchased your deluxe edition CD through Amazon first heard your song on Pitchfork and downloaded your EP through P2P is highly valuable.

The technology to make this happen is not expensive, nor particularly difficult to implement, with APIs and OpenID or OAuth. Thanks to the web's ever-expanding processing power, we have far easier access to more data than ever before – it’s no longer reserved for the major corporations who can pay hundreds of thousands of dollars to market research firms to run surveys. We just need to have the right technology implemented properly in order to make the data connection easier.

If we can connect all the data collection points properly, the processing isn’t horribly difficult – it’s merely implementing techniques that economists and social scientists have used for ages to slice and dice large data sets. Everyone should be able to be armchair statisticians (as Google Analytics has enabled web hosts to be), the winners will be the ones who have the deepest understanding how to find the most relevant data and take the most appropriate actions as a result.

The understanding is the place where I fear the music business will have the most catching up to do. From my personal experience, data analysis seems to be a new concept to many industry veterans. Many are excited by the prospect of data being available, but few seem to know what to do with it – it serves as little more than eye-candy, another blurry trend chart at a corporate meeting (to be fair, it's not yet easily available in relevant and easy-to-read format without some tech savvy and excel skills). Layer on top of that the fact that people in the music business seem to be among the world’s biggest optimists, and you’ve got a recipe for disaster when it comes to biased or outright incorrect interpretation of data.

The winner of the data wars among the music startups will be the one who can provide the deepest insights, not just the most data. They will preemptively answer both questions of “What does this mean?” and “What should I do?”

The biggest winner will also have the tools to power the “What should I do?” actions. This means marketing, ecommerce, and access to relevant channels. These tools need to empower the artist, but also add value. In the end, I believe success may be measured as some variation of the following equation (would love to hear your feedback on improvements to the equation), and the winners among the startups will be the ones who can prove to consistently impact the quotient the most:

(Engagement + (Investment x Demand Generation Execution))^Quality = $$$

Note that quality is hyperefficient and falls almost entirely on the artist. Even the best data analysis in the world can’t make up for a product that doesn’t appeal. But it can tell you why your product isn’t selling as well as your competitors, and what you can do to make incremental improvements from a business perspective. And that makes data incredibly valuable, and a worthwhile pursuit -- it will undoubtedly unlock a plethora of new business models for music, and allow artists to figure out their own optimal model.

Free is not enough

2009-07-09T20:48:00.006-05:00

There's been a great deal of debate lately around the Freemium business model that Fred Wilson helped describe (and a commenter helped name). Many take it as an inevitability, others as a bogus and destructive force. I'm a believer, personally, but I also think it's horribly misunderstood as a model and, frankly, not very new.

The first thing to understand is that free isn't a business model, it's a piece of a business model. No company, band, or person will ever make money on free. Free = $0 income. Duh.

The second thing to understand, then, is that there's always been a piece of a business model that was value "wasted" -- generating no directly measurable return. For ages, big companies have thrown empty money at marketing departments, asking them to provide the consumer with entertainment so that they might build brand equity -- radio or tv was the medium, and ads were designed to pique the audience's interest. Advertising is entertainment for an attention-wealthy consumer base.

The problem for those companies is that the attention-wealthy consumer base is dwindling as the internet (among other things) helps put a wealth of options at the consumer's fingertips. Andy Sernovitz has one of my favorite marketing quotes of all time is "Advertising is the cost of being boring." In an attention-scarce world, advertising is a last resort.

So what replaces advertising in the marketing department? Higher quality, more targeted content. In the music world, this means digital files or streams distributed to fans and potential fans via their chosen method online. As with any other industry, you pay for quality and convenience -- you pay for cable to get more and better shows, but still get commercials; you could bypass those commercials by spending even more money on a DVR and spending the value of being among the first to watch by waiting for the program to record; you could spend more time and money to reduce commercials to a screen wipe by buying the DVDs; or you could spend more time and effort searching online and downloading the videos. All above factors being equal, experience wins: companies (read: Hulu) win when they find the right balance of quality, convenience, and monetization.

In the music industry, people began demanding the convenience of MP3s, and no content owners wanted to make them convenient or at the right price (that right price being whatever the fan thinks is fair). The content was going to get free eventually, with no cost of packaging or distribution, but "piracy" reigned as a result of the resistance of the content rights holders to provide that content conveniently and at a rate the rights holders and fans could agree upon. They didn't realize the inverse relationship between attention and necessity for convenience, nor the shift of media for their advertising dollars from endcaps and radio promo to studio and production costs, so the fans figured it out for them. Apple has won the market to this point solely on convenience -- if it weren't for the success of the iPod, there's no way iTunes would be the leading retailer after having clung to DRM and proprietary formats for so long.

It's not free that's killing businesses, it's that free is not enough. It's the inefficient use of free and the inability to find alternative methods of monetization.

Chester French gained tens of thousands of email addresses by giving away an entire album's worth of content for free on their website. People were willing to exchange their contact info for the value of the mixtape, because the band made it easier than searching around on P2P networks. Most of those people went on to buy a record and/or ticket to a show, again, because they made it easy (he emailed them all a link to a page on his website) and at an appropriate price ($7.99 for digital download, $13.99 for vinyl or cd, $19.99 for vinyl or cd + tshirt + poster). They gave the fans options to self-select their level of support for his brand, and the vast majority went with one of the higher-priced options.

The only worry on an album "leaking" at this point (if anyone cares about you, it's almost inevitable) is that you don't make it more convenient for fans to get at a reasonable price. That price can be free (though I'd advise that if you're making it more convenient than other sources you should at least get some contact info) or whatever the "reasonable" price you and your fans agree upon by them transacting -- keep in mind many folks like to shop for deals, so convenience is only a relatively small markup. I've worked with a number of artists whose albums I've had on my iPod even before knowing I was going to be helping "put out" the record, and all have made significant revenues off whatever delivery channels they made convenient for the fans.

Need more evidence that free is not enough? I have spent over $1500 on music in the last year, according to Mint.com (which is a severe underestimate as it doesn't account for cash purchases nor many other music-related purchases). I have almost exactly 1500 songs in my iTunes library that have zero plays, another 1415 with one play, and 5000 total (would take 14 days to play, 35.16 gb of music) with 5 or fewer plays. I can point to maybe 5 of those bands that I've ever spent money on. You can give me your music, but you can't make me listen to it.

The next stage of music, when the triviality of "free" content has passed, is getting in peoples' ears. I've said before that I think a great deal of that will be through tastemakers, and that other artists (or their brands) are likely to be the most profitable tastemakers. Tastemakers add context and relevance to convenience, and should have the ability to offer content at a fair and reasonable price, and should benefit as a result of their addition of context and relevance. Currently, blogs are compensated almost solely through ad sales (and some through promotions and concerts) as a payoff for their ability to bring in eyes and ears, and precious few are even remotely profitable that way. Sites like HypeMachine and iMeem add another level of convenience (you can find almost any track you want merely by searching), and pick up affiliate fees if the user clicks through to purchase a track on iTunes or Amazon (the biggest bottom-line difference between the two being that iMeem hosts the content and thus has to pay streaming bandwidth fees and royalties, and spend their efforts on negotiations and legal battles whereas HypeMachine can innovate great, engaging, context-adding features like Twitter charts).

As new business models emerge in the music industry (all incorporating a free component as marketing), I have little doubt that more business models will emerge for tastemakers. Major labels missed their chance at retaining their status as tastemakers, and now have to earn it all over again. As they rebuild their own reputations (and I have faith they can get there), they'll begin to start letting artists pay them to leverage their connections with the real tastemakers (as we saw today with UMG's deal with Tunecore). Someday soon, though, those tastemakers will also have methods of monetizing their connections -- and yes, free will be part of their business models too. Whomever can get people to listen has the opportunity to make money, and those who can get listeners to take actions have the greatest opportunity. Same thing goes for any business in any industry, and that's nothing new.

The interesting piece of the puzzle is not the changes in business models, but how companies and industries adjust to the changing landscape. The underlying business principles remain the same: those who can provide the highest quality content conveniently have potential for revenue, and those who select the right business model and provide the right context for the content will wind up profiting.

What happened to my radio?: The new profitable tastemakers

2009-03-01T19:01:00.007-06:00

In my last post, I alluded to some of my views on licensing songs and the ties (or, more accurately, lack thereof) to Lifetime Value (LTV) of fans, and thus careers for the musicians. Now I would like to clarify my thoughts on ties between bands and brands and give a sense of how I believe the most mutually beneficial relationships can be built.

I believe that bands and brands have very strong natural ties, and that bands should really be thought of as brands in their own right. The key demographic for up and coming bands is generally the teenagers and young adults, which today is Generation Y. Known as the first generation to grow up with a true comfort with technology, having known no life without computers, we are distrustful of advertising and seek deeper relationships with the organizations to whom we give our time and money.

Music is a well-known key to human emotion. It also influences relationships - people who like the same music are almost instantaneous friends, thanks to a connection felt at a more primal level. Friends are also known to enjoy similar products and brands - they make similar connections influenced by shared experiences and compatible ideologies.

The key, then, is finding where these connections (between consumer and brand, and between that consumer and band) have potential overlap, and leveraging that connection to benefit both parties.

Your car commercial has a catchy tune in it, don't you think some folks might catch onto that (don't you want them to?) and want a download of that song? They would, and they would appreciate you for being the one to recommend it to them. You're building customer loyalty among people who aren't even necessarily your customers yet.

Afternoons had a song in a Lincoln commercial that premiered during The Grammys. I would love to have that mp3 by going to LincolnMusic.com, would be thankful to Lincoln for introducing me to it, and while I'm not in the market for a car right now, I'd have a slightly more favorable opinion of Lincoln. Lincoln, in turn, would have my email address (which they could use to introduce me to more music and further build my trust and respect, NOT to spam my inbox with nonstop car ads), my potential to spread the word to more friends (and thus fans of Lincoln), and a potential lifetime fan of their brand (bringing them perhaps as many as five to twenty purchases).

Traditionally, radio has made a living off being intermediaries -- brokering these relationships through their professional tastemaking and controlling the distribution channel (the AM and FM frequencies of our car and personal stereos). Thanks to the Internet and digital music, the distribution channels are no longer restricted -- brands and bands have access to each other and to the fans through a single channel with no need for intermediaries. (In fact, the Gen-Y fans would prefer not to have intermediaries.)

Many brands, of course, will be slow to understand these benefits. Corporations aren't often used to the concepts of direct ROI from marketing spends -- the people working the income sheets and the people spending the marketing money are on different floors and probably have never met. The onus (and thus, business), then, is on consultancies like Brands + Music to show the finance departments why they should be hired to project manage the marketing department's relationships regarding music. In the future, however, it would in no way surprise me to see brands whose target audience is largely Gen-Y starting music departments to help identify and build relationships with bands with similar demographic fanbases.

While brands may be somewhat sluggish to realize the potential of deeper relationships with artists and mutual fans, successful artists (remember, an artist is a brand, too) can coin themselves as tastemakers and built their own brands. You already see it happening, both with an increased number of vanity imprints (artists starting their own labels to help bring legitimacy to their friends and other bands they like) and with artists like Kanye West, whose blog mentions send page views through the roof for anyone fortunate enough to be on the receiving end of a link. In both cases, the artists leverage their existing fans' trust of their brand to become tastemakers and drive benefits for other b(r)ands, and in turn themselves.

The hope, of course, is to be able to automate some of the identification process for all parties involved -- many of the biggest changes to come about in the Internet era have come as a result of taking manual effort out of business processes. The technology will soon exist to have your brand grow many times in size by being the modern equivalent of the cool DJ in town, an opportunity you may not immediately think relevant. Of course, technology is just a tool, and the brands and artists who employ the tools make their own fates and fortunes with their usage -- technology will never be a substitute for genuinely identifying with the brand you sell and using your own passion to connect with the fans of your brand and desire to add value to their lives.

As a side-note, I'm sure questions will arise as to the potential of "regular" individuals to become tastemakers. To some extent, there is, but it will have to be through a channel they define for themselves (generally through blogs), rather than through sites like SUURGE. Musicane's (and many others) original business model presupposed fans would appreciate being rewarded for their music recommendations to friends. What they failed to realize was how pithy rewards from not having a substantially large sphere of influence is actually a demotivator (people would rather recommend out of passion than see a couple pennies). Where Amie Street separates themselves is by becoming a tastemaker in their own right by aggregating fan inputs (their biggest sales driver is moderated weekly emails with personal recommendations) -- their users buy based on their view of Amie St as a tastemaker, and getting small discounts is a nice side benefit that makes them feel good for being a part of the community.

Turn a virus into reverberation to get lasting fans

2008-12-28T15:47:00.005-06:00

There have been a couple New York Times articles recently that have stood out to me. The first was Jon Pareles's piece on "Songs From the Heart of a Marketing Plan," discussing the licensing business's rise in recent years (thanks to DA of Chester French for the tip). The second was Gregory Schmidt's article on Broadway's use of MySpace and other viral techniques to fill theater seats. Both articles are about new ways for the arts to generate awareness.

The final quote of the Schmidt article touches on a point that I've been adamant about: “In the theater, there is only one proven marketing technique that works: to generate word of mouth,” Mr. McCollum said. “Everything else is a shot in the dark.”

Viral Marketing techniques are little more than the next generation billboard or TV ad -- they generate a bit of brand awareness if executed properly, but don't have any real lasting effects. You may see a spike in traffic as a result of a Viral Marketing campaign, but it rarely has any meaningful long-term revenue impact. Same goes for music licensing -- having your song licensed for a commercial is often good exposure, downloads of the single on iTunes will spike, as will MySpace plays, but how many new fans has it given you?

I actually admire the band Chairlift for deliberately not calling attention to the fact that their song "Bruises" was featured in the latest iPod Nano commercial ("I tried to do handstands for you..."). They knew that by making a big deal about one song being featured on TV, they'd alienate their true fans and make a big statement about their intentions as artists (to make money and get famous quickly instead of caring about their art and the fans who have supported them from the start).

As Seth Godin has posited for many years now, the best products, those that sell and that people love, are the ones with the marketing built in. Andy Sernovitz says "Advertising is the cost of being boring," and he's absolutely right. Viral Marketing is little more than a new generation of advertising -- its purpose is to generate brand awareness rather than create long-term fans and customers.

Reverberation Marketing, on the other hand, happens when a product (be it an album or a bottle of soap) is worth talking about and is properly exposed to its target audience. The first part, that it's worth talking about, must be baked into the product. The second piece, exposure to the target audience, is the job of a marketer.

Fleet Foxes have topped a vast number of Album of the Year lists (including my own), but that has nothing to do with the fact that their CD was available at Starbucks. In fact, the Starbucks deal came after they were playing sold out shows to thousands of die-hard fans around the world. They built a remarkable product, and exposed it talkers and tastemakers in their target audience (Pitchfork.com, for example). They continued to build with a tour opening for Wilco, a band with a similar target audience, and are now selling out headlining shows in Australia.

Perhaps most importantly, the fans they've made will stick with them. Viral Marketing encourages flash-in-the-pan artists or brands, whereas Reverberation Marketing builds a lasting fan-base that can be marketed to for years to come.

Fleet Foxes have focused on their fans, rather than general exposure, as they recognize the true fans will allow them to do what they love for the rest of their lives. I talked to them briefly after a sold-out show at The El Ray in October and they said they would be thrilled to play to that crowd at that venue for the rest of their lives if that's where their fans were. They even mock the marketing ploys of dollar-driven artists in a recent blog post:

"We have found the perfect place to record our next record, we've rented a barn/house in Port Townsend a few miles from where my dad used to build boats, and we're gonna build a big ole Titanic that will seem indestructible but will actually sink quite easily due to something minor that we overlooked (something like hella world beat / glitch pop influences or a continuous literal narrative). SO watch out for FORD AUTOMOTIVE PRESENTS FLEET FOXES II: TIDES OF THE UNDERDEMON, SERMON 3:16 exclusively at Best Buy, January 17th 2009!"

So what can they do next? Make the ties to their existing fans stronger. Get more direct contact routes than MySpace (email addresses, cell phone numbers, etc) in order to increase quality of communication (read: segmentation by location or depth of connection (single purchase vs large purchase and sharing)) and strengthen the connection. Understand what those fans want from them, understand who else those fans are listening to, reward the fans who help spread their message, and most of all continue to be themselves.

The true fans have come because they feel an untainted connection to the band. They will support the band for years to come. The folks who buy your single off iTunes because they heard your song on a commercial are virtually meaningless in comparison. Thinking financially of the lifetime value (LTV) of each:

True fan: Buys 3 albums (3 x $10), 1 vinyl ($15), tickets to 5 shows (5 x $20), and 2 t-shirts (2 x $15). Also, they inspire 3 other fans, who might spend half that on average. Total LTV = $437.50
Single purchaser: Buys one single on iTunes ($.99), likes it enough to buy the whole album (rarely happens -- perhaps 1 in 20 at best). Total LTV = $9.99

Obviously nearly every artist is going to have some of each. Exposure is not necessarily a bad thing, in fact it might help create more true fans. However, your time is much better spent targeting the true fans than worrying about a sheer number of ears you can get your music in. True fans enable reverberation for years to come.

For more on how targeting true fans can benefit the bottom line more than mass exposure (and some great examples), I highly recommend Ian Rogers's recent keynote speech from the GRAMMY Northwest MusicTech Summit.

First Aid Kit: A story of discovery

2008-10-28T01:20:00.006-05:00

Many folks ask me how I discover music. I wish I had an easy answer. I download a lot of stuff (both albums and playlists, which sometimes inform album purchases) via torrent or other filesharing options, I also read the occasional blog, and hear about a lot of good music from coworkers and friends. I don't use Pandora, I scrobble to Last.fm but never look at it, and I keep the iTunes Genius sidebar open but I'm not sure why (it's not like I look at iTunes when I listen to music--I click once and it plays).
I can speak in broad generalizations all day, but I thought it best to take you through how I found out about a couple teenage sisters from Sweden in a band called First Aid Kit. Every time I play them for someone the immediate response is "Who is this??" (in a good way). But I can't take credit for finding them.
I first found out about First Aid Kit from Peter Rauh via a Twitter message: "Some inspiration for the day: Two Swedish teenagers covering Fleet Foxes in the woods (no lie) http://tinyurl.com/5svkol" The link takes you to this video:

After I told Peter how much I loved the video, he told me he heard about it via Light In The Attic.
I downloaded the mp3 of the song for free, and checked out their MySpace profile. From there, I bought their record from Klicktrack.
After more than a few listens in a short time span, I knew others would enjoy the music, so I published an OpenTape player on my website:

I told a number of friends about the music, and my friend Britti even thought she played them on her radio show. Unfortunately, she had come across another band by the same name, this one from Spain -- goes to show you the importance of picking an original name for a band.
At any rate, I hope you all enjoy First Aid Kit as much as I do. I think they're mature beyond their years, and anyone who fashions themselves after the Fleet Foxes is A-OK in my book.

Collective Patronage: Your next advance is from your fans

2008-10-28T00:00:00.003-05:00

Collective Patronage is not a new concept (heck, a quick Google search turned up this article from 2001 -- the author says "I can think of four local San Francisco-area bands, and one each in Minneapolis and New York, to whom I would happily give $25/year to support their music"), but only now is it beginning to be properly realized in the music industry. The idea is a return to the days of classical music, when composers were paid by their wealthy patrons to compose music that everyone could enjoy.
In a perfect world, someone richer than you would pay for your favorite bands to make lots of great music for you to enjoy for free. However, we live in a democracy with a free(ish) market, so we all have to do our part.
Artists are no longer confined by a physical medium (CD, cassette, vinyl, etc) as their flagship product, and fans have many options to avoid paying for music. Yet many, if not most, of us still pay for music that we like. In talking to others who work in the industry, the standard routine seems to be to download a number of albums without paying, take them for a few spins, and pay for the ones you like.
Had I said that 5 years ago, I would've had the RIAA all over me. As it stands, however, much of the fear of file sharing has subsided -- heck, there are even "marketing" companies who will seed your album on torrent sites.
While many of the barriers to entry for artists to produce and distribute music have diminished, they have not disappeared. Artists still need to cover recording costs, equipment costs, gas costs, etc. Claiming "oh, they can make that money on the road" only applies to a select few bands (and that number is diminished with high gas prices and harsh economic conditions).
Artists need fans, and they need some of those fans to pay some money. Yes, those "some"s are intentional. Fans can pay in many ways (eg - pay attention, pay permission to market to them, etc), but some of the fans do need to contribute money for the band's survival.
Some services have sprung up with the concept of Collective Patronage in mind -- SellABand.com, SliceThePie.com, etc -- but those are focused exclusively on unsigned, relatively unknown artists, and instead of fostering a true relationship between artists and fans, they are more of a game for the fans and a one-time "make or break" for the artists. In other words, they're not focused on long-term, sustainable growth. They also fall short in extending the concept of Collective Patronage to larger, more established artists.
"Oh, but the big artists have labels to cut them big checks!" Sure, sort of. But even large artists could do better for themselves taking checks directly from their fans rather than from labels. Think about it: with how much they're struggling, and with all their bureaucracy, would major labels make a major investment were they not almost positive they could recoup? Not likely.
Take the David Byrne - Brian Eno release Everything That Happens Will Happen Today -- by contract I can't speak to specific numbers, but the goal was to recoup recording costs and make as much as they would have made from a major label advance. Perhaps that was a bit audacious, considering the amount of marketing money a major label would have dropped, but guess what? The album hit that goal in well under the three months it's been out -- long before it even hit traditional retail outlets or iTunes/Amazon. Not only that, but both artists draw from a slightly older fanbase that isn't as likely to dig for music online.
Even ETH was a fairly traditional release -- digital only, digital plus CD, and digital plus limited edition tin with bonus disc. To move to a system truly based on Collective Patronage, a group of fans would all pay an agreed-upon sum to an artist each year to ensure that artist continues to produce music. In exchange, they receive access to all the artist's output for that year, plus maybe a few extra bonuses. Essentially, it's a subscription or membership to the artist.
Josh Rouse posts an album of some sort each month for his patrons (okay, subscribers) to download. Jubilee recorded an EP, gathered patrons based on that EP, and put the money they collected towards further recording (which, of course, the patrons receive for free).
I've probably belabored the point more than I need to, but I encourage fans to become patrons of their favorite artists, and artists to seek out patrons -- we all want to make each other a little bit happier and bring a little more beauty to the world through music. Some have the talent and inspiration, others have the money.

Why Trent Reznor Rules

2008-09-22T03:23:00.002-05:00

I hope this shows up decently. If not please view it at: http://www.flickr.com/photos/factoryjoe/2877586803/sizes/o/

Synchronous audio over video chat

2008-09-06T14:40:00.002-05:00

If someone knows how to do this, please let me know...
I want to be able to play music synchronously over video chat. Meaning, I imagine, writing a simple streaming audio player on a video chat API that could either play songs from skreemr and seeqpod or from your computer (temporarily hosting them or pushing them to another hosting service) so that people on both ends can listen to the same music at the same time without the time lapses and audio overlaps that exist in playing music on one end through the computer microphone. Help?

Artist Idea #3: TXT for Video

2008-08-26T01:06:00.005-05:00

This is the third in a series of relatively short posts of potentially crazy, potentially profitable ideas for musicians to use. If you use them, you don't have to give me any credit, but please do write in and tell me how it worked for you.

Here's an idea that is best enabled with Topspin, but is worth running by any means necessary. Get a phone for the band (or, alternately, get an SMS receiving number/account online), post the number at concerts (tape it on your amps for full effect), and have fans text you their e-mail addresses. At the end of the night, or in the van the next day, compile all the e-mail addresses (and their phone numbers) you received. Put them into a list titled the city or venue you just played so you can keep track of where they are for future communications.
Finally, give them a reward! My recommendation is a private link to a video of the previous night's performance, but I know not everyone travels with video cameras (you should! get the merch guy or someone in one of the other bands to tape you). Alternately, a personalized message would be nice, an exclusive song download would be better, and encouragement to tell their friends if they had a good time is always good policy.

Artist Idea #2: Dedications

2008-08-24T22:47:00.003-05:00

This is the second in a series of relatively short posts of potentially crazy, potentially profitable ideas for musicians to use. If you use them, you don't have to give me any credit, but please do write in and tell me how it worked for you.
I don't know what it is about chatting it up with my friend Adam, but I always wind up with new artist ideas while talking with him. The next three are all from one conversation about ideas for Mondo Pr!mo's new release, 2FN HOT, and upcoming tour with The Pink Spiders.
Start by emailing all your fans and let each of them pick a song to have dedicated to them on your next tour stop nearest to them.
If you scale like crazy, it would be tougher to keep up with the dedications (perhaps start selecting fans at random, or fans with the best reasons for why they deserve the dedication), but while you're still building, the satisfaction and excitement of a personal dedication is a huge reward for your initial core fans.
Sure you might make a dedication anyway if someone asked you outside the venue before the show, but by offering the opportunity in advance, the fans will get more excited to go to the show and more excited about bringing friends to hear that song dedicated to them.
THEN you follow up with them, having brought a video camera on tour with you, by posting that song, with dedication, on youtube and email them the link.
Then they share that to all their friends who didn't go to the show, those folks hear your songs, get hooked, and, from the details of the youtube vid, know where to go to buy your stuff.

#1s

2008-08-12T22:22:00.004-05:00

Katy Perry's hit single, "I Kissed A Girl," recently tied The Beatles' "I Want To Hold Your Hand" for the longest reign at #1. While we can all sit around all day and all night debating the merits (or lack thereof) of each, I would like to point out the difference in culture surrounding these hits.
Namely, the fact that I eat, sleep, and breathe music, work in the music industry, am young and relatively "hip" (okay, the fact that I just put that in quotes takes me out of the running), yet have never heard this "I Kissed A Girl" song. In fact, every time I hear it mentioned, Jill Sobule's classic 90's hit by the same name comes to mind.
I could rant about how this is a sign of the changing landscape of music made possible by the digital medium and infrastructure, but you know that already. Instead, today I'd just like you to sit back and think about what it really means to have a #1 single these days--Katy Perry has sold fewer cumulative albums in 7 weeks than The Beatles did in 1.
The lowest common denominator will always exist, and will always sell. It's human nature to be attracted to artists and songs that other people like. That market won't disappear. The difference is not that people aren't buying music--music sales are still well above what they were in the 60s (and 70s and 80s and 90s)--it's that not everyone has to buy the same albums. They have different ways of discovering music, and more music to choose from.
As an artist, you should view this change as a boon--you no longer have to conform to a "norm" to get a coveted record deal and thus sell records; you can make whatever music you want and there will, more than likely, be a market for it. In a world where #1 means much less, being down the list a bit doesn't look so bad anymore.

Artist Idea #1: Taco Truck

2008-08-07T21:57:00.002-05:00

This is the first in a series of relatively short posts of potentially crazy, potentially profitable ideas for musicians to use. If you use them, you don't have to give me any credit, but please do write in and tell me how it worked for you.
It's a well known fact that the way to a (wo)man's heart is through (her) his stomach. It's also a well known fact that selling cheap food near concert venues is almost always a home run. Why not utilize both of those facts and cook for your fans? If you want to go all-out, buy yourself a taco truck (or similar food-serving vehicle) and use it as your tour van. Alternately, you could get one of those dorm-room pizza ovens and plug it in by your merch booth. The key is to have something easy to make and easy to sell, and the means by which to do both. If you cook it, they will come.

Quick Follow-up

2008-08-06T23:10:00.004-05:00

Just thought it was worth mentioning that a month after I posted about Foxboro Hot Tubs (Green Day's label-less side project) playing to a crowd of maybe 500 in Dallas, my cousin told me they played to a sold out Wachovia Center in Philadelphia. Word of mouth? Yep. A little help from radio? Sure, but it's not like it was a label pushing the track on the radio.
They've proven they can migrate a fan base from a major to no label, the next question that still remains is: How does an independent artist effectively grow their fan base without the advent of traditional label backing? There are no easy answers, but three things that help a lot are 1) good music (a good product sells itself); 2) patience (the days of the debut album megahit are largely over); and 3) luck (see post on randomness).
I can try to offer suggestions of ways to help get attention, but ultimately those three principles pervade in any success. The harder you work at making a quality product and growing your fan base organically (read: great, ongoing, two-sided communication with your fans), the more likely lady luck is to smile on you.

The DUH Effect (or, the WWID generation)

2008-07-29T00:43:00.003-05:00

Let me preempt these comments by saying the following generalizations are not necessarily true of all members of my generation. They are, I believe, more prevalent in my generation than those who have come before us, however.
I just read Getting Real: The smarter, faster, easier, way to build a successful web application by the guys over at 37signals. The book is smart, well-pointed, and a fun read the whole way through. However, one word stuck out in my mind after nearly every sentence: DUH!
The same word has gone through my head with every business book I've read recently: The Long Tail, The Tipping Point, Wikinomics, and nearly every Seth Godin book out there.
This mental commentary is not reflective of the authors; rather, it is reflective of the difference in mindset that a few years makes.
The readers of my generation don't need to be told that niches exist, that collaborative knowledge is powerful, or that breaking down barriers (including broad advertisements) between a company and customers can bring lots of benefits. DUH!
We know these things. We assume them. This is how our world works. All the processes that these books are built to break down, we never knew existed. We digest the world in snapshots and snippets, diving deeper into only the specific realms that pique our interests (for example, the reading I've enjoyed recently has involved the brain's cognition and processing of music and the many definitions and significances of infinity).
Take social networking for example: it took someone of my generation to get it right after other, slightly older tech geniuses got bogged down after building great promise. While many of us were frustrated with it's abrupt implementation, the Facebook News Feed proved to be the most significant feature of it's growth. Zuckerberg noticed that students were spending hours on Facebook digging through each others' profiles and walls trying to find out who had changed something recently or had a conversation with someone else recently.
We as humans seek transparency into the people and companies we care about. Due in large part to lack of technology, past generations rarely realized or acted upon this human urge--but why were newspapers started? Why have sit-coms succeeded? Why do tabloids make billions?
The personal focus, the focus on the individual, manifests itself in countless ways. There's the urge to participate, to make yourself feel like you made a difference--volunteering at a homeless shelter or contributing an entry on Wikipedia. There's the urge to get your personal message heard--sending Christmas cards or blogging or, most recently, Twittering. There's the urge to know what other individuals are up to, as noted above.
My generation recognizes this personal focus and has an understanding of the tools necessary (mostly web-related) to act. When we get stuck creating something for public use, we simply ask "What would I do?" and chances are pretty good that there are some other people out there of the same mindset--be it a large market or a niche one. And if asking WWID doesn't work, we look at who we want to reach and explore their wants, needs, and what they're doing. Then we go back to our drawing board and change accordingly.
Duh.

Randomness and Predictive vs Social Forces

2008-07-19T14:54:00.004-05:00

In traditional media marketing, there's a sense that one can predict consumer preference (and those who do the best job of this make the most money). Unfortunately for many who have made careers out of this line of thinking, their processes have relied largely upon situational factors that have allowed their success--with few media outlets (eg- TV, radio stations), those who could spend enough money to get placement for their acts would see great returns.
But times have changed. As Leonard Mlodinow says in The Drunkard's Walk: How Randomness Rules Our Lives :

That is the deterministic view of the marketplace, a view in which it is mainly the intrinsic qualities of the person or the product that governs success. But there is another way to look at it, a nondeterministic view. In this view there are many high-quality but unknown books, singers, actors, and what makes one or another come to stand out is largely a conspiracy of random and minor factors--that is, luck. In this view the traditional executives are just spinning their wheels.

Mlodinow goes on to tell of a study in which 14,341 participants are asked to listen to, rate, and if they desired, download 48 songs by bands they had never heard of. Some got to see how popular the songs were, in terms of their peers downloading them. These folks were further divided into 8 groups, and could only see the data from the folks in their own group. Then there was a group that got to see no data whatsoever--this group was considered to be determining the "intrinsic quality" of the music, without any outside influence.

If the deterministic view of the world were true, the same songs ought to have dominated in each of the eight worlds, and the popularity rankings in those worlds ought to have agreed with the intrinsic quality as determined by the isolated individuals. But the researchers found the exact opposite: the popularity of individual songs varied widely among the different worlds, and different songs of similar intrinsic quality also varied widely in their popularity.

One song ranked 26 of 48 in "intrinsic quality," but was #1 in one world and #40 in another. As one song or another, by chance, got ahead early in downloads, it's apparent popularity fueled others to find it appealing.

The influence of others will always be important to us--we inherently trust the recommendations of other humans more than anything else. Traditionally, the only music recommendations we had access to came from the DJs and VJs who played what the major labels asked them to. There were a few "tastemakers." Now we have all the music options we could ever ask for, plus the option of getting recommendations from anyone and everyone--it's a reactive market now where hits aren't made by radio, but by our peers.

How I Landed My Dream Job

2008-07-15T00:43:00.004-05:00

For most of my life, I had dreamed of working in the music industry. The catch? I didn't see any jobs which didn't require either a) making no money (I'm not greedy, but I don't want to live in credit card debt), or b) fucking over the artists. The latter gave me more trouble than the former. In the traditional music model, where was there room? There wasn't.

Thank God for the internet.

But even among all the technologies out there claiming to enable and ensure artist success, one stuck out to me: Topspin--they weren't just building tools, they were building solutions for how artists could legitimately ignore the traditional label structure and make a living on their own. This is the story of how I landed my dream job with Topspin.

Earlier this spring, I noticed my idol Ian Rogers had made the shift from heading Yahoo! music to heading Topspin. Here was a guy with nearly limitless options in the digital music world, and he took a position with a stealth startup with a 3-page website. Really? Surely there must be more to it.

There was. The more I learned, the more I was enthralled. Topspin was founded by Peter Gotcher (who, among MANY other things, holds an Oscar and a Grammy for creating ProTools recording software) and Shamal Ranasinghe (who managed MusicMatch for many years, including their acquisition by Yahoo!) and described themselves as enabling bands to become their own businesses. I was intrigued, to say the least.

Doing a bit of research on LinkedIn, I discovered my friend Mike Harkey (with whom I had chatted extensively about my attempted startups NewkBox and Scenem) had been a business school classmate of Shamal's at Stanford. I asked Mike if he would be kind enough to pass along Shamal's contact info, and he was kind enough to give me a very nice introduction.

Unfortunately, my e-mail to Shamal ended up in his spam folder. Oops. Luckily, a few weeks and a phone call later, Shamal uncovered my e-mail and shot me one in return. I then did a phone interview with a manager and with Shamal.

Then silence. Topspin was in the process of moving offices, and Shamal told me they needed a bit of time before he could come back to hiring decisions.

Luckily, being the Ian-stalker that I am, I noticed Ian posted something about a job on Twitter, so I took that as a sign that I should call Shamal again. I did, he said he'd talk to Ian the next day. Well, the next day I also received a rather lucrative job offer from a consulting firm in Dallas, so I had to apply a bit more pressure to Topspin. Within 10 minutes of my e-mailing Shamal, Ian called me (surreal, yes), sang my praises for 8 minutes, and spent 1 minute telling me they wanted me to start tomorrow. The offer letter came in 10 minutes later, with a note from Ian requesting an "I <3 TYWHITE" t-shirt (as featured in picture above).

I was sold. But I had to be absolutely positively sure they were for real (keep in mind, they were still in stealth and hadn't publically revealed any funding), so I asked them to fly me out. They said absolutely and had only rushed the offer knowing I had to make a decision on the other job soon.

When I arrived in Santa Monica, I was greeted by Shamal and a sparse office that had more musical instruments than computers. As the employees trickled in, they were all smiling, kind, and smart. They had all read my blog, been to my website, and probably knew more about me than I know about myself. Even one guy who hadn't started yet, but swung by the office briefly, had checked me out. This was a tight-knit group who knew exactly what they were doing, both with computers and with other people. Sold.

I did lunch with Ian (how many people would pay how much money for that opportunity?), where we saw his idol (ironic?) ride by on a one-speed. It was storybook. He then layed out why he chose Topspin over all the other opportunities he had. Sold.

I took an afternoon break (while Ian, Shamal, and Peter ran off to a Billboard cover shoot) to wander around Santa Monica (and take a nap) before returning to the office to sign my contract. When I returned, Ian was chatting it up with my old friend from middle school DA Wallach, whose band, Chester French, is making quite a splash even before their album drops. Unbelievable.

I signed my contract and have never looked back. I started last week and it truly has been a dream come true. These people are brilliant, creative, and highly motivated to produce the best products on the market. It's everything the digital music business should be: beautiful, powerful tools that sit behind the scenes helping the artists build their relationships with their fans. While it's been a journey to get here, the true journey lies ahead, as we play our (hopefully sizeable) role in changing the music industry forever. I'm not sure I've ever been more excited to be a part of something.

Thanks to all who have helped me get this far, and to those who will continue to help along the path to the future.

Understanding the New Economics of Music: Three Necessary Realizations for Artists

2008-06-22T17:49:00.001-05:00

Same essay as last post, but in downloadable and shareable format. Please feel free to pass it around!

Understanding the New Economics of Music: Three Necessary Realizations for Artists - Get more Business Plans

Understanding the New Economics of Music: Three Necessary Realizations for Artists

2008-06-22T17:29:00.002-05:00

The music industry is changing. Actually, it already has changed. Technology has transformed everything from production to marketing and distribution. The business side is still trying to catch up with technology, with major labels suddenly trailing the pack.
But if you’re anywhere near the music industry, you know all this already. The question is “How can I survive in the new music economy?” The answer is not easy. It requires a complete change of mindset from traditional music business thinking.
As an artist, there are three basic realizations you need to come to in order to understand and survive in the new economics of music: your band is a business, the traditional model is broken (for good), and your fans are your best assets.
I’ll lead you through these necessary realizations, but much of the rest is up to you. The beauty of this shift is your creativity gets to spill over from music into the business side of things more than ever before. There will be plenty of people to help you along your way, but ultimately it’s you making decisions for yourself.

Realization #1: Your band is a business
Take a minute, let it sink it, get comfortable with it. It’s difficult because you think of yourself as an artist—don’t lose that! The key is that you are an artist who needs to make a living. You are an employee of your band. Pretty sweet job, eh?
Traditionally, bands have at best been brands in a larger corporate label structure (yes, even the indie labels). If you weren’t in one of those structures, you weren’t a professional musician. Well guess what-- labels, in the traditional sense, are irrelevant today (a point we will hit in greater depth later). With the labels gone, you are your own entity.
The thought might be scary at first, but the fear should become an element of excitement for the opportunities this freedom affords you. You now have complete control over everything related to your music, and for the first time you can realistically make a living while keeping that control—there are no more middlemen.
Sure, you will have to learn more about the business aspects of music, but there are many of us here to help. Just remember, as your own business you are no longer fighting for the attention of a few label execs who will magically make you huge, you are fighting for the individual ears of every possible fan out there.

Realization #2: The traditional business model is broken. For good.
In the traditional model, a band worked for the attention of major labels, as the labels collectively had near monopolistic control of all distribution channels. This control allowed them to essentially dictate who succeeded and who did not.[1] Additionally, the only way an artist could get a quality recording made was with the financial backing major labels offered.
The result of all this control was a set of contracts that meant any band that was good enough to get signed, but not good enough to sell literally millions of records wound up in debt to the labels. For an overview of how a band can sell 250,000 copies and still lose money, see: http://www.negativland.com/albini.html [2]
I added the “For good” part to the section title because major labels still seem to be desperately grasping for every element of the old model that still remains. They don’t understand the new economics. In fact, Doug Morris, CEO of Universal Music admitted in an interview with Wired:
"There's no one in the record industry that's a technologist," Morris explains. "That's a misconception writers make all the time, that the record industry missed this. They didn't. They just didn't know what to do. It's like if you were suddenly asked to operate on your dog to remove his kidney. What would you do?"[3]
Now is your opportunity to get ahead of the majors. Kick them while they’re down and reclaim total control in the name of artists everywhere.

Talking Point #1: You don’t need a label
This is a tough one for most bands to realize—all your favorite bands growing up were on labels, and you may have dreamed of being on the same label as they were. But think of what a label’s primary functions are: financing recording, handling distribution, and providing marketing support. Well guess what: you don’t need any of that anymore.
Recording is practically free. Yes, you still can shell out loads of money for studio time at the best studios with the most famous producers, but with the advent of Pro Tools and other recording software, the costs of doing so now generally outweigh the benefits.
Distribution is practically free. Self-distribution options, selling directly to your own fans, are coming very soon. In the meantime, you can pay TuneCore what you’ll make on two or three copies of your record and they’ll distribute your music to all the major online retailers (I’ll hit on the advantages of self-distribution later, but both options are important).
Why has the traditional distribution structure broken down? Simple: physical space in stores (and in warehouses and delivery trucks) costs money, digital space on servers essentially doesn’t. What does this mean to you? It means that instead of getting at best 7-10% of record sale profits (after paying back the record label in full for recording and distribution investments) through royalties, you get about 70% of all sales. Period. In a best case scenario on a major label, you still have to sell upwards of 10 times more copies to make the same amount of money.
Marketing is dead. At least in the traditional sense. Marketing is no longer direct advertising, as labels still believe it to be—people have become immune to traditional advertising. Andy Sernovitz, author of Word of Mouth Marketing, states “Advertising is the price of being boring.”[4]
So what are the new goals of music marketing? Enable and encourage existing fans to help build your brand, and know your potential fans better than they know themselves, so as to get them to discover you in the way in which they are most susceptible to being hooked. Are people finding you through MySpace? Are they passing mp3s around between each other? Are they avid blog readers? What blogs? I’ll touch more on the importance of your fans later, but it’s your job now to know them as well as you possibly can.
Talking Point #2: The pricing model is broken as well
You’ll see this more in the next section with “The 80/20 Rule,” but static pricing is not reflective of the real value of music.
Let’s look at an example: One fan listens to your album multiple times daily, it’s struck such a chord that she knows every line and her MySpace screen name is one of your lyrics. She’d drive hundreds of miles and pay hundreds of dollars to see you live (she already watches all your live videos on YouTube, over and over). Another fan had your music recommended via Pandora, heard a song, decided to buy the album on iTunes, put it on his iPod, and listens to it about as often as anything else. If you come to town, he might go if he has nothing else going that night.
In the end, both fans paid $10 for your album and $20 to go to your concert. For one, it was every penny he was ready to invest in you (if you put on a great show, maybe he bought a $20 t-shirt as well, and maybe you began to convert him to be more like Fan #1—each individual product he buys (music, live show, t-shirt) strengthens his ties to you). For the other, she would’ve gladly spent hundreds more dollars on you had she been given the opportunity (you only print 3 styles of t-shirts and she owns them all already).
The situation with Fan #1, which happens far more often than bands realize, is called Consumer Surplus—in economic terms, the demand exceeds the supply. In real terms, this means lost revenue for the band.
The ideal solution is a sliding scale pricing model. The issue with adopting such a model initially is that fans wouldn’t know where to start—they are unsure of how to value your music as well. A compromise is to offer more options—sell your B-sides, make a live DVD, print collectors-edition posters. Unfortunately, those kinds of compromises are just that: compromises.
One possible implementation of a sliding scale involves touring. With gas prices rising, more bands are going to have to get more monetary support to justify going on the road. Now say they asked their fans to help them come on the road. The top fans, like Fan #1, those who would stop at nothing to see the band succeed and to see them live personally, would donate. The fans like Fan #2 would not.
Beyond simply asking for donations, the band could offer simple rewards for donations and let the fans know how their money is being spent—say, everyone who donates money gets a personalized picture of the band using your money (holding a sign with your name on it—it could be in the tour van if they spent it on gas, or in a restaurant if they needed food). To help the fans visualize what their money will be used for, you can set up some suggested donation levels and examples of expenditures from each: $5 buys a band member a burger, $20 buys new guitar strings (if you don’t get them free), $50 fills up the van with gas (okay, maybe closer to $150), etc. Perhaps the bigger donations warrant a phone call from the band as they spend the money. Perhaps an extra-large donation gets a private acoustic session for you and your friends. None of these interactions inflict any extra cost on the band, but they let the fans know how their money is spent and make them feel wanted, which in turn makes them more likely to spread your word even further.

Realization #3: Your fans are your biggest asset
“But wait,” you say, “how can someone I’m just selling stuff to be an asset to me?” And there’s the trap: you don’t have to merely engage in single, one-sided transactions. Your relationship with your fans shouldn’t end when they put you on their iPod—if they like your music, they don’t want it to end there, and neither should you.
There’s a phenomenon in Economics that goes by a number of names: The 80/20 Rule, Pareto’s Curve, Zipf’s Law. Traditionally the rule meant that the top 20 percent of companies in a given market controls 80 percent of the revenues in the market. But as distribution has changed in music, so too has The 80/20 Rule. Now the rule takes on new meaning: your top fans are responsible for the majority of your marketing. As a rule of thumb, the top 10 percent of your fans carry about 90 percent of the weight.
So who are those 10 percent and what can you do with them?
Have you looked in the front row of your concerts lately? Have you seen those screaming fans who melt when you make eye contact with them or hit that high note in the bridge of their favorite song? Do you have any idea how early they bought tickets, how early they got to the concert to make sure they were as close to you as possible, how late they’ll stay after the show in the hopes of catching another glimpse of you as you disappear into your tour van? Do you know how many friends they’ve told about you and how many message boards they’ve posted on about you…in the last week? They would do anything for you.
All you have to do is ask. Help them help you.
How can they help you? We already established that traditional marketing is dead. Your existing fans are your best outlet for generating new fans. They’ll put your songs on mixes, bring friends to shows, talk you up on blogs and message boards, and anything else they can do to spread the word. Additionally, they are likely to be your best individual sources of revenue.
Up to today, much of online distribution has mimicked physical distribution, just in a more accessible format. However, as previously stated, there’s no reason the relationship between artist and fan should end when the music is purchased and put on the fan’s iPod—neither side wants it to end there.
Think of the information Amazon, iTunes, and Ticketmaster get from the fans that you as artists never get to see: e-mail addresses, locations, what else the same fans bought (or listened to and didn’t buy). Many fans want you to have some of that information so you can best stay in contact with them and cater to them, but they don’t want to go through the hassle of looking for where and how to give it to you.
iTunes recently started releasing specifics of sales by zip codes through a service on TuneCore.com. This data can help you get a better idea of where people who are buying your music are located, but it still doesn’t give you statistics across all mediums of consumption (ie-Amazon, MySpace, imeem, etc), nor any way to get in contact with those individuals apart from booking a tour nearby and hoping they find out about a show and come.
Soon artists will be able to sell their music and other wares directly to the fans, possibly on a sliding scale, and receive and maintain the personal information the fans want to share. Artists will be able to utilize that information to increase communication to their existing fan base and maximize their reach to new fans.
However, ditching the existing outlets in favor of nothing but selling directly is also generally a mistake. Remember what we said was the new marketing ideal? Know your potential fans better than they know themselves, so as to get them to discover you in the way in which they are most susceptible to being hooked. This means you need your music to be accessible to as many of your potential fans as possible—forcing them into a single distribution method puts you in the same trap the major labels fell into, and you’ll lose many potential fans in the process.
You can try to influence new fans to see the advantages of doing business directly with you (via links on your MySpace and YouTube videos, and encouraging your existing fans to drive their friends to your site, among other ways), but if they don’t want to go beyond simply buying mp3s through their favorite retailer and throwing it on their iPods, they’re frankly not worth your time and effort. Yes, it’s great that they bought your music, and it would be great if they came to a show, but remember our version of The 80/20 Rule—if they aren’t willing to put in the effort to count themselves among your top fans, they have a relatively low utility to you.
Concentrate on your top fans—they will help you the most in any number of ways.

Case Study: The Format made the new economics work for them
The Format was dropped by their major label, Atlantic Records. Twice. Many bands would pack it in, but best friends Nate Ruess and Sam Means weren’t giving up on their dream. After an initial thought towards seeking another major label, they looked into the audience at their shows and saw a devoted fan base that was more than they could ever ask for. They didn’t need a major label to get their next album in the hands of those fans.
So they took their severance check from Atlantic and recorded Dog Problems the way they wanted to. And with major labels lined up out the door trying to buy the rights to their sophomore LP, they made the difficult decision to self-release it on their own aptly named Vanity Label.
Nate and Sam gave away a free acoustic EP including some of the songs from Dog Problems to their fans about two months before the LP’s release to help get them excited. Then a month before release, they posted 30 second snippets from four possible singles and had the fans vote for their favorite.
When it came time to release the LP, they paid for distribution out of their own pockets and were among the first to embrace SnoCap’s widget to let fans purchase and download MP3s directly from their MySpace page.
The result? Dog Problems debuted at #77 on the Billboard 200 in July of 2006, a chart virtually untouched at that point by bands without labels.
Then, a year later, seeing sales slow to virtually nothing, The Format did something a major label would never consider: they gave away Dog Problems for free, as long as you signed up for their mailing list (and no, you didn’t have to confirm your e-mail address—if you didn’t want to put in a valid e-mail address, you didn’t want to hear from them, so what good would it do them to e-mail you?).
Over the course of a month, 40,000 people took them up on the free album, and another 29,000 downloaded individual tracks from the album. The Format’s e-mail list grew immensely (how much would a major label pay to get 69,000 more fans on a band’s mailing list in one month?), and as a result of that their next tour had far and away the highest turnouts they had ever seen. All without spending a dime on marketing, and all profits going into their own pockets.

Conclusion: YOU can do it
Undoubtedly, this sounds like a vast amount of work and responsibility above and beyond what you anticipated when you first joined a band. Fear not—tools are on their way to help you sift through all the clutter and make your life much easier. Sure, they won’t be free (all those employees put on the street by the labels need to make money somehow), but they’ll be far preferable to signing 98% (or more) of your life away to a label. If they get their act together, labels will still be able to participate in the new music economy—but they’ll be much more like business consultants to you than corporate overlords.
Control is now in the hands of the only two crucial entities in music: the artists and the fans. How are you going to build and maintain a strong bridge between yourself and your fans?

[1] The “hit machine” of major labels is a predictive force, which only works when options are limited. When fans have all the choice in the world, hits are determined by the fans themselves—hits are made reactively to fan response and viral spreading. Instead of what the fans listen to and like being determined before an album comes out by some guys in a board room, the best albums are elevated to the top by aggregation of real fan interest.
[2] In his book Confessions of a Record Producer (Backbeat Books), Moses Avalon shows how a million-selling artist can still easily wind up in debt to a label.
[3] http://www.wired.com/entertainment/music/magazine/15-12/mf_morris
[4] Sernovitz XXV

Music as a medium (or, why video games appear to be winning)

2008-06-16T10:43:00.003-05:00

Bob Lefsetz wrote a week or two back that "Gaming’s got all the sexiness that music used to have. It’s the land of visceral excitement…and profits." There's some truth to that statement, but does it mean music is dying? Absolutely not.
All that's happened over the past few decades is that music has shifted from a rivalrous to a non-rivalrous medium--instead of sitting down and listening to a record from start to finish while doing nothing but maybe look at the album cover, we have music playing constantly while doing other things. It doesn't compete for our time. It accompanies other daily activities like driving, reading, running, shopping, etc. The same shift has happened for TV--the hours people spent watching TV spiked in the 70s and 80s because people were starting to while TV while doing something else. (Will all cinemas of the future be restaurants as well? Or have other activities integrated?)
Gaming enjoys its sexiness and profits because it is the newest major entertainment medium, and is naturally a step ahead of movies and music in terms of being naturally engaging (a point that the wii brought to the mainstream). But watch as they follow a similar arc to music. Already gamers are complaining of the major studios releasing "safe" games--sequels or new games that follow existing models for success. Soon, tools will be made available to allow anyone to create their own games quickly, cheaply, and easily; and we will have the computing power to be able to distribute those games quickly, cheaply, and easily over the internet. Already you see the beginnings of it with user-modified levels. The real question is will the major gamining studios learn the lessons of the music, film, and TV industries before them?
But back to music. Music as a medium is alive and well, despite its gradual shift away from demanding our attention. More people are listening to more music today than ever before. Just because the medium itself isn't as engaging as it once was doesn't mean that music can't be engaging. Artists need to build relationships with their fans, and need to give them more to play with than a new CD every 2 years. This doesn't just mean releasing every track that you record and mix in the back of the tour van. It means everything from video blogs to merchandise to live shows--get creative! Get engaging! Give the people what they want, and then some! Your band is a brand, and a single product, updated once every two years, simply isn't going to cut it if you want to have any of the sexiness and profits of the gaming industry.

What is Chipotle up to?

2008-06-06T15:13:00.004-05:00

Yesterday at Chipotle, I decided to forego my usual routine of picking up a copy of the Dallas Observer (local indie weekly newspaper) and reading the music section, and instead just sat outside and enjoyed the breeze through my hair and view of endless strip malls. As I looked down at my chicken soft tacos, I noticed something odd: the brown paper lining the basket now had some writing on it making out spiral designs. More than that, I immediately picked out the word Evoka--a small band out of NC who I tried to book for a show at Davidson once. Odd, I thought, then looked at the paper a little closer and saw many other names I recognized mixed into the hundreds of names listed.
I searched everywhere for an explanation, but only found a little logo saying "Design. Art. Music." No links, no explanation, no nothing. So I went to the Chipotle website and this was the best I could find: http://www.chipotle.com/#flash/restaurants_music. From that all I can discern is either these bands are on Chipotle's radio station, or they're going to have concerts sponsored by Chipotle. But maybe there's a different supersecret plan. I think it's great that Chipotle is doing SOMETHING to support these indie rockers, but would it kill them to tell me WHAT?

Slight Change of Heart: Lala vs Ad-supported music

2008-06-06T14:13:00.003-05:00

At first I was totally opposed to Lala's new model of charging $0.10 for unlimited streams of a song--how on earth did they plan on competing against the free streams at imeem? Then my friend Adam started sending me albums to check out on Lala. I could listen to the whole thing straight through for free, no ad interruptions. Had he sent them to me on imeem, I would have had to put up with a 15 second audio commercial every couple songs.
On the surface, this limited interruption might not sound like a huge deal. But let me put this another way: think of your favorite album, the one you loved the second you heard it, that you listened to from start to finish and didn't multitask while doing so. If the first couple times you heard it, a McDonald's audio ad telling you to buy a Big Mac played between every other song, would it still be your favorite album? Would you have listened to it from front to back? I'll give you a "maybe," but in a lot of cases you'd give up or it at least wouldn't have struck you nearly as heavily.
At this point in time, the primary use of streaming services is still to try out music before deciding whether to buy or not. While Lala's model might not make them any money on streaming revenue, the simple fact that you can listen to the entire song or album for free or next to free and purchase it from the same page is genius. Would I like to see them drop the $0.10 rule and eat the extra costs? Yes, from a consumer standpoint, but it wouldn't be a smart business move--by adding the preventative measure of requiring people to pay to keep streaming, even if it's a trivial amount, Lala forces the user to reach for his or her wallet no matter what, and at that point they might as well invest the extra couple pennies in buying the mp3s (the actual revenue generator).
I was thinking about it the wrong way--Lala is not directly competing with imeem, they're competing with iTunes and Amazon. And kicking their asses. At least for now...
(On a side note, I have no idea who has kept Lala funded through all their different iterations (not even a year ago they were strictly a CD swapping broker), but I want them to fund my startup--they sound patient and willing to throw some cash around)

My weekend in social media

2008-06-03T11:17:00.002-05:00

Two interesting snippets from the weekend:
1. I came across my notebook from Junior year (two years ago, for those counting), which included notes from my radio show, "Middle School Dance." I noticed one point where I had asked my roommate Jared what the worst thing on the internet at that moment was. His answer? "Facebook's 'How I know this person' option." I agreed. At that point, that was the first sign we had that Facebook was becoming something bigger than a way to keep track of and interact with your closest of friends, mostly at your own school (not even all the schools had Facebook at that point; as I recall, High School Facebook caused the next uproar). Many of my friends are now very rare Facebook users for precisely these reasons: the original social graph made sense, and made sense in our context--the people we interacted with most online were the people we interacted with most in person. As connections became more and more distant, more and more people were turned off. As soon as coaches were found digging through athletes' personal photos online searching for incriminating evidence, nearly all the athletes significantly limited their Facebook use. Facebook has grown dramatically, but they've lost much of their core original audience. I'll leave it up to you to decide if that's a bad thing or a worthwhile sacrifice.
2. I went to a bar with some friends this Saturday. None of us had been to the bar before, but we were wary because it had potential for being a "hot spot" and thus far too crowded for our liking. Turns out it was incredibly crowded, and one of the people in the crowd is a star of Gossip Girl (Chace Crawford? is that his name?). Anyway, as I pushed my way through the crowds to catch up to my friends, I overheard nearly constant chatter about Facebook. But this story isn't about Facebook. When Chace walked past, the girls I was with swooned. One spent the rest of the night (and probably longer) kicking herself for not jumping his bones. The other was on cloud nine because he brushed her chest as he squeezed past her in the crowd.
What was their first move upon leaving the bar? Telling everyone they know, of course! First a series of TXTs, then a phone call or two, update the Facebook status, then send a few more TXTs. This is precisely why Twitter, if they get their problems solved, will hit it big in the mainstream. The objective of all those TXTs and the Facebook status could have been accomplished with a simple TXT to Twitter saying something like "OMG Chace Crawford just touched my boob!" On the surface, Twitter messages are little more than Facebook status messages. The difference is in the response they elicit. While 95% of both just get read and passed by, there's that 5% there on Twitter that make people want to respond to each other--and Twitter gives them the mechanism to do so (either @(screenname) or direct messaging). Plus, if Twitter catches on for purposes like it did at SXSW last year (note to developers: geotagging will be BIG with Twitter), lots more people would have tried to cram themselves into that bar. If I were a bar owner, I'd be studying up on ways to get people to tell their friends about the bar via Twitter--it might not be necessary now, but will become a huge boon to word of mouth very very soon.

A new model idea

2008-05-30T13:36:00.004-05:00

I don't claim to be qualified to be positing this idea (tax law is not my speciality), but I think it's at least worth throwing out there:
As bands and artists become more and more independent, would it make sense for them to incorporate as nonprofit organizations?
It sounds crazy, but here me out: the price of music is dropping to zero whether the artists like it or not. This doesn't mean fans don't want to support the artists, it's merely a function of distribution--it's easiest to get free mp3s, so that's what people do. Artists still need to make money, but they have to find other ways to do so.
People want to support their favorite artists, but often in varying ways and for varying amounts of investment--I might go see a show of 2 or 3 bands I sort of care about, while I might buy 2 t-shirts and a CD and e-mail all my friends about my favorite band. Currently, there aren't enough ways for artists to leverage the dedication of those top fans who would be willing to do almost anything to see their favorite bands succeed.
Being a 501(c)(3) wouldn't prevent artists from selling merchandise and such--those are "unrelated business expenses" that get taxed like they would if the artist weren't a nonprofit. However, being a 501(c)(3) allows the artist to receive tax-free donations, and the donors would likely be able to deduct their donations from their taxes. With gas prices soaring, this would enable a band to set up a fundraising effort (perhaps on Tipping Point models like ThePoint.com or CrowdFunder.com where nobody pays unless the goal is met) to ensure they can afford to make the drive around the country. With proper donation tracking, the band can try to book shows near where their big donors are. I would gladly give a few hundred tax-deductible dollars to my favorite bands to allow them to tour--I almost called the guys from Kaddisfly last night to let them know I wanted to do so, til I thought there might be a better way to go about it than just sending them a check for gas money.
The key is enabling the artists to "make the ask." Most artists understand business in the traditional sense: you get paid to play a show, you sell CDs and merch, and you make friends on MySpace in the hopes of spreading the word. Some understand that the top few fans are infinitely more valuable than all the rest put together. Few know how to capitalize on that concept.
In a step-by-step process:

Incorporate as a 501(c)(3)
Give your music away for free--your fans will appreciate it (they almost expect it, but still get excited when artists embrace it)--and encourage them to spread it to their friends
Sell merch as you normally would
Ask for donations. Bloggers often use a "Tip Jar" widget, but I envision something more relevant for artists: associate items with levels of donation ($5 buys the band a beer, $20 buys the band lunch, $100 fills up the gas tank (heck, you could base it all on gas--sponsor the miles on a tour), $500 buys a new amp, etc). A simple widget on your MySpace page goes a long way (especially if the fans can also put the widgets on their pages when they donate to spread the word further).

Thoughts? Anyone willing to give it a shot?

A lesson in execution

2008-05-30T13:08:00.002-05:00

My punk rock ideals make me a bit of a cynic towards anything even remotely "mainstream" or "corporate." I'm certainly not alone in that mindset, as we see more and more people rebelling against big business in favor of niche markets (enter The Long Tail).
The exception comes in execution: if a large or mainstream entity executes an idea incredibly well, it's very tough to hate or avoid. Apple is the biggest example--some, but by no means all, of their products are revolutionary, but from design to customer service, their execution is impeccable.
I just got back from lunch at a new location of Corner Bakery. I don't know who owns Corner Bakery, but I know it to be a large chain that competes with the likes of Panera and Atlanta Bread Company in the upscale fast food market. I had never been, but the experience will keep me coming back: there was a smiling greeter holding the door and handing out menus; while you wait in line, you can peruse the menu or check out the various packaged baked goods on the table next to you; they move people through the checkout extremely quickly without rushing anyone; between each checkout lane is a table full of fresh baked goods, which they ask if you'd like to add to your meal; the seemingly standard americana montage wallpaper actually includes many local pictures; they bring your food to you, quickly; the manager is on a constant roam around the dining area, smiling and checking with everyone to make sure they're enjoying their meals. Picking it apart, I can't think of a single thing they could have done better. And to top it off, the food was delicious!
The importance of execution is relevant to music as well. The example I come back to is Green Day--one of the biggest rock bands in the world, and notorious "sell-outs" from the early 90s. But I can't hate them, because they do what they do so well. They proved their abilities to me again recently when I watched their side project, Foxboro Hot Tubs, perform for a crowd of 500 in Dallas last week, the day after their album came out. The music of Foxboro Hot Tubs cops to many classic rock n roll styles, largely drawn from 1970s-early 1980s influences (from The Doors to Joan Jett)--it does NOT sound like Green Day. Yet I have never felt a cement floor move under my feet as much as at their show--the band, who are used to playing to tens of thousands at a time, sold each and every moment of their performance to a small group of folks who only could have listened to the songs a handful of times before the show. Without major label support or more tour plans, Foxboro Hot Tubs remains a test in word of mouth. So far, so good--the next night's show in Austin sold out before noon.
Regardless of what you're doing, attention to detail in execution gives you an extraordinary advantage over your competition. When mass advertising is no longer effective, people who notice the details drive your success--give them something to talk about.

Subtle but important update for TuneCore

2008-05-27T15:24:00.003-05:00

TuneCore, the service that allows independent artists to easily distribute their music across digital music services like iTunes and Amazon, just unveiled the ability for artists to see weekly trends and zip codes of people who buy their music through iTunes. This is HUGE in any number of ways: everything from booking tours to seeing responses to marketing efforts or big concerts. The issue, though, is how many artists truly understand the depth and importance of this data? I would love to see TuneCore either open their APIs to allow third parties to help bands manage these numbers in relation to other band activity (and internet buzz, etcetc) to try to make sense of why these numbers are showing what they are and what can be done to make the most of them.

I want a magical jukebox (that doubles as a washing machine?)

2008-05-26T20:27:00.004-05:00

The more I pay attention and ask and read (in that order of importance), the more diversity I see in how people discover and consume music. For the first time in history, we have choice. Music is, and the forms in which to consume it are, more abundant today than ever before.
As many online music services seek to refine their methods for our music playing and discovery pleasure, I'd like to offer my own personal ideal:

I generally prefer my standard listening and discovery modes to be separate. Then again, not always. When I want them together, I generally just have my standard listening device (for these purposes, we'll call it "myTunes") on random. Make me a checkbox when I have random on to say whether or not I want random reccomended tracks inserted (and a slide bar with 3 states: often, sometimes, rarely).
My friends are more likely to get what songs I'll want than you are or than "other fans" are. And bands I like a lot are more likely still to get it right than my friends. Ask them--they know music pretty well, and I generally respect their opinions. Oh and hey, while you're at it, make sure I can find out why something was reccomended to me.
Speaking of random, this state (as it has become such, rather than just a feature) should pay closer attention to me. Am I clicking to the next song often? What have I been stopping on recently? Am I clicking off certain songs nearly every time? What songs have I been playing actively recently? Pay particular attention to my reaction (play a lot vs click away from immediately) to reccomended songs and play more or fewer from the source of the reccomendation based on my reactions. Sometimes I like rating things, but not often when random is on.
I want to be able to share my music from where I am (in myTunes). Sometimes I want to just share one song, sometimes I want to share a bunch of songs at once. The other person doesn't need an mp3, just a stream (a full stream, without having to register).
Songs like the ones I recently shared or put into playlists or have been playing a lot recently should play more often on random (including, but only occasionally, other songs by that artist).

Get on that. If I was smarter at programming and algorithms, I'd build my own version of Songbird. Perhaps there is a market there? Looking into the future where all music is free and computers are merely portals to the internet where files exist in a cloud, will the market be in custom built music portals, tailored specifically to your listening preferences? Probably not, but it's worth throwing out there--I think you'll see a growing long tail of market-quality music players and reccomendation engines.

Note: Bonus points to anyone identifying the reference in the title.

Recent Album Purchases

2008-05-16T20:31:00.003-05:00

As I wait for the 10 oclock showing of the new Narnia movie (how cool am I on a Friday night?), I figured I'd offer my takes on some recent musical purchases:
Byan Scary and the Shredding Tears-Flight of the Knife- This work of musical Literature is what Alexandre Dumas would write were he writing music. I think I've described Scary's live show as Genesis and Meatloaf having a piano orgy in space, and they don't disappoint on recording either. Scary takes us on an epic journey of fantasy, introducing us to characters like Susie High ("a walking imitation of the sky") and Airship Valentine ("the station master's son"). You get so caught up in the journey that you forget to question the incredible quirkiness of both the story and the music.
Atmosphere-When life gives you lemons, you paint that shit gold- This is a tough one for me. Ant's beats are so much fresher and more innovative than any previous album, yet Slug's rhymes, well, just don't have the edge they once did. I do admire him for departing from his usual tales of his own hardship and trying to tell other stories, but the truth is he's more passionate and knowledgeable about his own life, and it really shines through. What makes me keep coming back to it, though, is that every time you start to get down on Slug, he rips in with a sick line, just to remind you he's still the same rapper.
The Matches-A Band In Hope- Another tough one for me. I want to like this album so much, but it really is leaning towards mediocre. Every song has countless flashes of brilliance, but the only truly complete and solid song on the cd is "Wake the Sun" (which, by the way, is an AWESOME song). I maintain that The Matches will forever be on the forefront of punk--I've thought that since I saw them when they were 14 year olds opening for Wakefield, Zebrahead, and Reel Big Fish. And you can't deny them a place near the top of the live show ranks. But they missed just a little with this one. They'll be back.
Panic at the Disco-Pretty. Odd.- Oh, Panic, what emotions you stir in me. I want to love you and hate you at the same time, I want to stop listening to your music, but can't. It's just so. damn. catchy. The hottest thing out of Vegas since The Killers, Panic settled down from their debut on this CD to find their pop rock roots in the likes of The Beatles and Beach Boys. They said they went for a "timeless sound." Well, they got it. That's for certain. But that doesn't equal greatness. Timeless + innovative = greatness. When you define timeless, as The Beatles did, that's when you've created something great. Pretty. Odd., on the other hand, will be a good listen for a month or two--you know, til the next really catchy cd comes out.
Phantom Planet-Raise the Dead- "Holy what? You mean those guys who used to have Jason Schwartzman as a drummer and used to have the theme song to the most popular teenage tv show (The OC) are still making music?" Yep. And while they may not regain their fame from 2003-2004, they've learned to make some legitimately good music. Anyone who can get me screaming "GERONIMO!" out loud every time the chorus kicks in has done a helluva job in my mind. I can't say this is the absolute best album ever because ironically they've lost their gift with the slower songs, but it's absolutely worth your $10.
Death Cab For Cutie-Narrow Stairs- What happens when a talented set of musicians force a major label debut then take a ton of drugs to try to get back to their indie roots? The answer lies in Narrow Stairs. Of course they have their moments of brilliance--they're a very talented set of musicians--but on a whole this whole ordeal seems forced to me once again. Ben seems further separated from his lyrics, and all the rest of the band can do is layer the sounds to try to create a deeper narrative. Sorry guys, not my cup of tea.
Anti-Flag-The Bright Lights of America- Anti-flag's best effort of the past few, this still won't appeal to more than the punk fans. That being said, it is a very energetic album, and they keep that energy going for at least 3:30 in each song--which I think must be a record on punk albums. The only real reason this couldn't be huge is that singer Justin Sane's voice is an acquired taste.

Mobile Social Interaction

2008-05-16T13:25:00.003-05:00

Three of the hottest topics these days in the tech world are Twitter, mobile social networking, and the iPhone. For those who don't know a thing about these, let me take you on a quick overview.
Twitter is a microblogging network that allows you to blog in spurts of 140 characters or less, which allows you to blog via text message on your cell phone. You can also follow your friends and "tweet" at them, thereby holding conversations via blog. The big controversy right now is whether it will make the jump from the early adopters (tech people use it so incessantly that one of the hottest areas is building applications around Twitter and Facebook feeds) to the mainstream. The issue is that to get value from it, you need a lot of your friends to use it as well. But once you're all on it, it's horrendously addictive, to a point where the tech world has a crisis every time the servers go down (which is too often).
Mobile social networking is the movement to add physical location relevance to the functionality of social networks (Facebook, MySpace, etc--though most talk on the social network scene is separate from the big guns in traditional social networks).
The iPhone has two big things coming soon: a developers platform (allowing anyone to create their own applications for the iPhone) was recently released, and those programs will be released soon; and there are loads of rumors about a 3G version (meaning faster data transfer for internet, plus potentially really good GPS) of the iPhone being released within a month, potentially with a price drop to $199.
Up til now, though, these conversations have been largely separate from one another. There are exceptions--TechCrunch wishes there were an iPhone-only social network, Twitter essentially acts as a stripped down mobile social network--but essentially these topics are discussed in their own realms. I take issue with that.
If I went into all the possible tie-ins and reasons, I'd be writing pages upon pages. Instead, let me posit my idea of a "killer app."
Picture an iPhone/mobile application that keeps track of where you are and adjusts accordingly. You can see where friends are and message them directly, or you can "tweet" (to borrow the Twitter term) from/about where you are. When you tweet, your message gets geotagged. All the public messages from that immediate area (adjustable on preference) would be accessible to anyone in that immediate area or to anyone searching for that area (thinking they might go there). Think of it as dynamic geospecific message boards.
If that doesn't immediately make sense, consider how Twitter first became popular: South By Southwest. People twittered about where the hot parties and shows were, other people picked up on those tweets and showed up to join the fun. Now translate that to everywhere.
You've got a few minutes away from a conference in another city and aren't quite sure what to do. Whip out your iPhone, launch the program, see what others in the area are up to, see if any friends (or friends of friends) are around, get geotagged Yelp reviews, etc. In the most active areas, you could even post a sort of "help me" question and anyone within your range could see any help out. You could also find a way to reward folks who were willing to receive and respond to TXT messages when those "help me" messages popped up near them.
There are, of course, also tie ins to media, being able to tweet photos and videos from anywhere (I would think someone will be making an app that lets you Twitter and automatically upload any attached video or photos to YouTube/Flickr). Fuzz just came out with a Twitter-like mashup with Seeqpod and Skreemr called "Blip" that lets you attach streaming audio to your tweets (follow me here: http://www.fuzz.com/blip/user/tygergolf), and I can only imagine that more will follow.
Personally, I struggle with Twitter simply because so few people I know are on it (if you are, hit me up at http://twitter.com/tygergolf). I think the way to bridge that gap is to build utility around it that makes it useful both to those who don't use it, and to those who are interested in using it, but don't have friends on it. The geotagging ability of the iPhone makes that possible, and can essentially turn it into a social network. I'm not the only one who sees this, but I think there are a number of ways to go about all this integration, and there will be a long tail with this sort of application if they are open enough.

Bands vs Fans--Who's responsible for spreading the word?

2008-05-12T17:06:00.002-05:00

The following was an e-mail I sent to my friend Adam a week or two back, so excuse any typos:
I was thinking yesterday, the niche of folks who are active in pushing music to others is pretty small, but they're pretty much the only ones who are truly engaged with the music. The average music listener might buy a cd, or might get something from a friend, and will just throw it on the iPod and be done with it. They don't check MySpace, iLike, etc, they don't generally buy merch, they go to concerts when their friends go or when it's one of their top 5 favorite artists. Is there any way to engage those folks more? Or are they a lost cause as they are just not predisposed to get more involved with the music they listen to?
If we count them as a lost cause, how do bands best use their fan support to grow? There used to be a whole market of folks to help manage street teams and such. Now everyone just uses MySpace (one such person came up to my friends in scenes from a movie at warped tour this year, as soon as he left they threw his card in the trash saying "unless your name is MySpace, you're worthless to us"). But let's face it--as much as bands are businesses, and as well as bands generally know their audience, precious few are truly marketing geniuses themselves. That opens up a new market of providing marketing tools to the bands (I know you know all this, I’m just thinking out loud). They have tens, hundreds, thousands of folks who would happily perform easy tasks for them, particularly if those tasks are fun. In the traditional method, fans get rewarded with tickets or t-shirts for passing out flyers, emailing the most people, etc. those kinds of rewards are great and appreciated, but they aren't a constant. Bands need their fans to CONSTANTLY be pushing the marketing for them. Thus, the fans can't always be physically rewarded. Instead they either need to have fun in the process or feel good at the end--or better yet, have it be so mindless that they don't even have to think about it.
Putting a band in your favorites on Facebook or MySpace rarely does any real good. The very very very few people who notice it generally already know the band. There really needs to be a PUSH of information (or whatever it is) for any promotion to have an effect.
Speaking from my own experience, my pushing happens a few ways. First off, I RARELY push music to people who I’m not at least 70% sure will take the time to listen and will enjoy it. When I do push music, it generally happens in one of three forms: cd, imeem, blog. For cds, I send out mixes to about 10 people every month or so (it started with my college roommates and has grown a bit as others have asked to join). I plan the cds as though I were making a mix tape for a girl in middle school (while I feel I can push my friends a little musically, I know what they like and tend to play to that), and even design cover art for them. Imeem I use for only a couple friends (I think I only have one or two on there). If I hear a song I like on my iTunes or on some band's MySpace page, I go to imeem, do a search, click the song, and send it along. That is the only thing I use imeem for. Since the usability design is so bad (almost has to be as they need to serve a whole lot of ads to make money), I don't find value in any other site functionality at this point. Finally, if I see a particularly good concert, I’ll blog about it. Each story on my blog averages about 20-25 reads, and only a few people click the links to listen to tracks (they more readily watch embedded videos, but even then it's maybe 20% of readers).
all this results in my pushing of music more than once a year to maybe 20 unique people, and probably 200 unique tracks end up in peoples' iTunes as a result. knowing my friends, I probably influence about 2 cd purchases a year--they already have the songs they like and don't often feel the need to explore a band further ("if they're really that good, Ty will send me another cd with another track or two from them"). Case-in-point: I got my college roommates obsessed with Kaddisfly. Not an easy task, considering one's favorite music is jazz, one's is rap, and the third is top 40 through and through. But they now LOVE Kaddisfly. Yet I’m the only one who owns a cd or t-shirt or has been to a concert. How do I make their love translate to revenue for Kaddisfly?
And there's the big key: sharing is all well and good, but how much sharing has to happen before the band can actually make money off of it? the process needs to be refined on both ends--fans need easier, more fun ways to spread their favorite music (and perhaps a better sense of who might be open to listening to it?), and the people they spread it to need a fun, easy, relatively inexpensive (at best, free--work on that) way to generate revenue for the bands.
Part of what I think might help this is if bands truly take it upon themselves to build their brand beyond the music. I used to blog a bunch about the need to think of a band as a small startup business, and I truly believe that. Of course, in both Seth Godin's (marketing guru) concept of a "Purple Cow" is incredibly relevant--if you have a product that is truly "remarkable" (his term), it's infinitely easier to market. remarkable doesn't just mean unique or fascinating, because different is not always good or pleasing to the masses; instead, it means something that is innovative and interesting, but is generally relatable to things we already are familiar with (why Panic(!) at the Disco's first cd got so huge--it was new instrumentation of very traditional pop punk music, so people thought it was new and different but were still universally comfortable with its conventions).
Regardless of how "remarkable" a band is, though, they can always do more to build their brand. Merch is one extension, and touring is one outlet/marketing tool, but there has to be more. Videos, blogs, hotlines, etc help, but can also be overdone--fans want to feel a like a part of the music and the band, but there also has to be some allure left. It’s like if a company was so into creating a "team" environment that they completely do away with hierarchy and put the management in the same cubicle as the entry level folks--teams are good, but they also need leaders who garner the respect of their peers partially by having closed-doors meetings and such. It’s a fine line between encouraging fan involvement and pandering to them. Ultimately, the best thing to have happen is to have the fans work with each other in a sort of community setting that you can oversee and occasionally communicate with to give some direction and encouragement. That being said, you have to make sure the conversation in the community is constant. If you think of it as an internet message board, if people run out of things to talk about related to your band, they'll stop coming to the site, and it happens as a snowball effect. If they stop coming to the site, reengaging each of them is infinitely difficult, and the longer you wait, the more folks you'll have to try to reclaim. Lil Wayne is a decent example of keeping fans engaged--he keeps releasing songs on MySpace rather than waiting every 2 years to do a cd. He doesn't have to do much in the way of talking to fans or anything really besides constantly providing the content for them to enjoy and buzz about.
The traditional thinking is that the music is the product. Now, it's sort of a product (people still buy it, but iTunes overtaking Wal-mart as top music reseller is evidence that people are more comfortable with digital music, and digital music has a marginal cost of zero, thus market forces will push price towards zero). In the future, it may only be a tool. Google started as a search engine. Now their search engine is a tool for selling ads, and they have a plethora of other free services that would traditionally have been considered products but are really just tools for building a brand and generating revenue through other areas. Can a band mirror that? I think so. They just need the tools to do so.

Can Mr. Smith Get To Washington Anymore? If the kids have anything to say about it, yes.

2008-04-11T13:10:00.005-05:00

Last night I went to an event put on by Democracy Matters, a student group dedicated to clean elections, at SMU. The event consisted of a documentary showing and some talkback with the subject of the documentary. Figuring I could use an education, and a meal, I went for the free JimmyJohns at 7 and stayed for the conversation til after midnight.

The subject of the movie, Can Mr. Smith Get To Washington Anymore?, is a guy by the name of Jeff Smith, who ran for the seat of retiring Missouri US Representative Dick Gephardt. Jeff was 29 at the time, and teaching political science classes as an adjunct professor at a couple universities in St. Louis. Seeing the opportunity to make a lasting impact and maintain the everyman image of the soon-to-be-vacated seat, Jeff decided to give the race everything he had.

He gathered a team of loyal, passionate, but extremely young and inexperienced folks to help him run his campaign. Together they beat down doors all over St. Louis and placed hundreds of thousands of phone calls in the hopes of gaining support. Nobody gave him a chance. The top candidate in the race had a last name synonymous with politics in St. Louis. In an early name recognition poll, 99% of voters had heard of his opponent, 3% claimed to have heard of him (though his campaign manager says 2 of those percentage points were people who thought they knew a Jeff Smith from somewhere).

In the end, Jeff raised more money than his rival (even with his opponent's mother being a US Senator with an impressive Rolodex), had far more volunteers working on his campaign, and darn near won--in fact, he won most of the key districts, but his opponent won the overall vote count.

Saddened, but not discouraged, Jeff ran a very successful (and even bigger) campaign to become a state Senator in Missouri based on the same principles his youthful team had run his previous campaign. He spoke to the difficulties of running a campaign in which you want to be beating down doors and meeting people in your district, but need to spend 6-7 hours a day calling people for campaign donations and support (less personal, but far more efficient). His favorite part of the campaigns were the coffees they had supporters put on--invite 15 of your friends over and Jeff will come talk issues with you for an hour or two. That or playing one-on-one basketball with inner city kids, saying if they won he'd give them $5 and if he won they had to pass out a few fliers in their neighborhood (though he found the word spread faster through their friends who shouted from every street corner than a short white guy had just beaten their friend).

A true grassroots campaigner, I gained a lot of respect for Jeff. Speaking with him for many hours after the event, I gained much more respect for him. He is very well read, has a great perspective on life, and genuinely enjoys people. He was horribly tired after filibustering for 5 hours that day and dealing with American Airlines flight issues, but he still really drove the conversation with the group of us who took him to Cafe Brazil.

I think the most impressive thing about Jeff and his campaign, though, was his willingness to take on unqualified, but very passionate youth to drive his campaign. While by the end his volunteer corps spanned all generations, few of the core group had even graduated college yet. The field manager even lied to the people he was managing, telling them he was 23 so that he would be perceived as older than the volunteers he was managing (he was actually 20 and admitted it on election day).

For their part, the kids proved him right--the learn-by-doing method triumphed once again, as the lack of "knowledge" freed them to be innovative and idealistic (they insisted on running a campaign free of slander). Additionally, because of their youth, they had the time and mind share to dedicate themselves entirely to the campaign--sleep seemed a rarity, and few had time for anything other than the campaign, yet they all stayed positive throughout. Many of them were even high schoolers who couldn't vote, but dedicated their summer and weekends to helping Jeff win.

Certainly cases can be made that the youth of today are impatient, self-interested, demanding, and don't have the encyclopedic knowledge of some of their predecessors, but I think Jeff Smith's campaign staff proved that we may just be a new kind of smart. We can retrieve information instantaneously and process new skills and ideas on the fly, rather than needing to have deep roots and work with the concepts for long periods of time. It's the same philosophy that my favorite billionaire Richard Branson employs with each new Virgin brand--a fresh look at stagnant industries can be best if taken by an outsider. If you are intelligent and dedicate yourself to a new challenge, the fact that you have little no experience in that specific field is irrelevant, or may even be a boon.

It may take a long time for the jobs of today to transform to suit these new kinds of brains, as it continues to take a while to incorporate the technology these brains rely on, but I encourage employers to allow for the possibility that previous skills might not necessarily be the biggest key indicator in what kind of a job someone will do for you. A few fresh brains who really understand people, like Jeff, have already discovered how to adapt. Will you?

South By Southwest

2008-03-17T10:40:00.008-05:00

After a rough go of it at South By So What (where the most popular band involved a teenager in a pink wig and drag singing lude lyrics over electronic beats) in Plano on Friday, I made the trek to Austin Saturday for my first go at South By Southwest.

I decided to wear a shirt asking people to come talk to me about what they wish the internet would do for their musical experience. I couldn't find iron-on letters at Target, so I figured the next best thing would be to get some nametags and write my message on those. I wound up drawing a lot of attention, but unfortunately no one actually talked to me about my message--they were all just interested in the design of the labels themselves. I must've had at least 25 strangers wanting to take pictures of me. Weird.

My SxSw experience got off to a slow start. I arrived a little after 5, when most daytime shows were over and the nighttime bands were all loading in and soundchecking. I didn't have a badge or a wristband (I'm not sure how/when/where you get those), so I had to take my chances at the door on each show--a risky proposition considering all the shows I wanted to see were at different venues.

I got into the Habana backyard (where Kaddisfly was playing) a little after 7 and hung with the guys from Kaddisfly for a while before heading to Esther's Follies for Bryan Scary and the Shredding Tears. The venue appeared to be a cheap dinner-and-a-show joint frequented by local magicians and the like. Thirty to forty people watched (half seated, half standing) as Scary and his band rolled through a series of operatic rock voyages through space (replete with props) that scream of Meatloaf and Genesis influences. A mangy Scary alternated between beating on his keyboard and falling all over the stage, acting and reacting to his own lyrics. It was certainly more of a show than any magician I've ever seen.

From there I sprinted back to see Kaddisfly. Excited to play a 45 minute set after their 20 minute tease at South By So What, they ripped into a new jam to open the set. Unfortunately, Kile's bass went out before they even got through the first song, and the rest of the show was delayed for a few minutes. Chris tried to pass the time by improvising on the keyboards and singing, but he ran out of material after a couple minutes. Finally, everything was fixed and the show went on without a hitch. After rolling through "Empire," they played a new track that the audience (not knowing who this band was) really dug. The band played their usual energetic live show (at one point Chris took off his shoes and started beating on the cymbals), showcasing their talents beautifully, and closing with an extended rendition of "Snowflakes."

Knowing the band would need a few minutes to pack up and load out before I could chat with them, I snuck off to see Oh No! Oh My! Being Austin locals, I expected a slightly bigger turnout than they had, but they packed over a hundred folks into the top floor of Buffalo Billiards. In sharp contrast to the intensity of the first two shows, Oh No! Oh My! played largely feel-good, poppy indie rock with funky rhythms and beautiful harmonies. They closed with a new song that was so good it completely soothed the complaints of some vocal fans screaming for their favorite older song.

I tried to get back into Kaddisfly's venue, but it was popular enough by that point that they were only accepting badges and wristbands. I called Aaron from Kaddisfly, who was about to sleep in the van, and realized I probably wasn't going to get to hang with them as much as I had hoped, so I should go elsewhere. Right at that point, I got a txt from Atom from Feable Weiner telling me to come hang out. We met up at Shakespeare's for You, Me, and Everyone We Know, where he introduced me to the founders of Echospin (which has YMaEWK's label, Drive-Thru Records, as a client). When the band's microphones all went out before even the end of the first song, Atom ditched for PureVolume Ranch, and after talking to the Echospin guys, I followed suit.

It turned out PureVolume Ranch was a private artists' party. Luckily, Atom sweet-talked the security guy and got me in. It was really great to see Atom again (first time in 3 years I think...way too long). We nerded out for a few hours, talking about the internet and the state of the music industry, and the future for it all. He revealed struggles he's had trying to find the right record or distribution deal for the new FW record he's been sitting on for nearly two years (it's extra-complicated because they've topped out the charts in the UK, but haven't had a whole ton of commercial success on this side of the pond (yet)). We met a few other interesting folks at the party, but generally just talked, even all the way through Limbeck's raucous set. He and his girlfriend were even gracious enough to let me crash on her couch.

All in all, I could say that I was disappointed in not seeing more music, but the truth is it cost me $32 to see four truly outstanding shows in near-perfect settings, and I met some good people and got to catch up with old friends. Not too shabby. Maybe someday I'll get to go for more than one day...

Huge Tool: The LinkedIn Answer

2008-03-12T13:58:00.004-05:00

Last Tuesday I was at a They Might Be Giants concert in Dallas, and amidst the usual witty banter between the Johns, John Flansburgh asked the audience “So do you think we should get on this Facebook thing?” There were some strong boos and some strong yeas, but to my surprise the majority of the crowd remained silent, or merely chuckling at the question itself.
The truth is, Facebook isn’t something people associate with music (though Facebook is trying to change that with their partnership with iTunes). I guarantee there were multiple people in the audience turning to their friends and whispering “Isn’t that what MySpace is for?” Just like it might be weird to get a Facebook Friend request after taking a business meeting with someone, but it might be appropriate on LinkedIn. Each site is, when all the initial excitement wears off, a tool for a specific purpose.
MySpace is for entertainment. It allows full creativity in making your profile as ugly as you dare, and is a hub for up-and-coming musical and comedy acts to share their material and plug themselves. Gone are the days of promoters and street team managers—bands manage all that by messaging their MySpace “friends.” It used to also be for people, but that was only when people on the internet were a form of entertainment, rather than an extension of real life.
Now Facebook is for people. People being the majority of people who don’t go to the internet looking for new relationships necessarily, but just want to keep track of what their real life friends are up to. Therein lies the beauty of the Social Graph—Facebook is a tool for keeping track of real life friends. Facebook has thus focused on communication and photos.
LinkedIn has survived in the face of possibly the worst design in internet history (recently upgraded to workable) because ultimately it was a very good tool for keeping track of business contacts (it’s syncing to Outlook was a fan favorite). In fact, one could argue that the poor design and difficulty in navigation may have been something of a comfort to business people who often see computers that way in the first place. If Facebook or MySpace (or Google's Orkut) buys LinkedIn and tries to integrate it, they will need to focus on the business-specific aspects of the site and be sure not to alienate long-time users by taking the focus away from that functionality.
Look at some of the other big guns: Google’s homepage is famously simple, focusing entirely on its search tool; Craigslist does nothing but provide a tool for online classifieds; eBay went through a craze, but now gets most of its traffic from stores and most of its revenues from PayPal (a smart pickup when they were on top of the world), both tools for facilitating ecommerce between existing merchants and everyday consumers; YouTube won in video not because it was the best in a lot of ways, but because it was the easiest tool to share videos with friends.
In the end, every truly successful website will boil down to being a tool—the others will have their fads, but will die off relatively quickly if they don’t evolve into valuable tools. While we have a fascination with this internet thing as though it were in an infomercial on tv, in the long run it’s going to boil down to a new set of tools for humans to get around their everyday lives. But perhaps by then we’ll be entertaining ourselves by taking family vacations to Mars.

Buy this record (yes, record)

2008-03-11T09:56:00.002-05:00

I liked the post office yesterday--not only did my iPod Touch finally come in, but when I got to work in the morning I found a white box containing my double-disc, limited edition vinyl from Kay Kay and His Weathered Underground. I don't own a record player, but the band doesn't let you order the album in any other form (note: it does come with a card with a code to download the mp3s online). Not too many bands could get away with only selling vinyl, but for Kay Kay it seems somehow appropriate--they're very heavily influenced by the late 60s and early 70s (though they also show many signs of their Seattle rock roots). Their MySpace page describes them as "Alternative / Lounge / Experimental" music, but I think it's best to skip the classifications and let you hear for yourself. Oh, and don't forget to pick up one of the only 1000 copies of this record available--you won't regret it:
Buy: http://www.vinylcollective.com/2008/02/06/potp-kay-kay-and-his-weathered-underground-st-dbl-lp-3-colors/
Listen:

The Spectrum of Musical Experience

2008-02-25T13:56:00.003-06:00

Yesterday morning I was in Chicago with my college roommate, ripping air guitar solos to Jupiter Sunrise's "Arthur Nix," much the same way we did in our freshman dorm room. Last night I got off the phone with one of my senior year roommates, then turned on the radio and heard three songs from The Beatles, culminating in "With A Little Help From My Friends." As I fell asleep, I put on a playlist of songs I have yet to share with anyone.
All three musical experiences elicited a deep emotional response, but in completely different ways. Such is the mystical nature of music--it is at once both deeply personal and reliant on shared experience. Many of us turn to it when there's no one else to turn to, and also use it as a mechanism for connection and shared memory with others.
My own consumption of music tends to follow a similar pattern: find out about a new artist or song through an artist I already enjoy, experience the music as personally as possible (alone in my room or car), then pass it along to others in the hopes that they might have a similar personal experience with it that we can then relate to each other through. To this day I send out CDs to friends almost monthly as a way to keep us tied together. As the Better Than Ezra song goes: "Someone out there's listening to the same song and feeling the same way that I do."
Sometimes (often) this phenomenon occurs on a massive scale. Radio pushes the same few songs at a time all over America and the world. As a result, people buy (hopefully) millions of albums and pack stadiums to see their favorite bands live. Perhaps no greater connection happened than when The Beatles played The Ed Sullivan Show on February 9, 1964 while an estimated 73 million people watched.
To this day, the easiest way to unite a room full of people is to play a Beatles song. We had a cookout for our families outside our apartment the night before graduation and it was a no-brainer to make the mix cds almost exclusively Beatles--it's happy music that nearly everyone knows and loves. Even Spencer's grandma was doing a little boogie to "Good Day Sunshine."
Taking experience one step further is live music--fans and potential fans flock to see bands play live, now moreso than ever. Whether it's a dive bar with ten people watching or Albert Hall filled to capacity, strangers come together over a common love of music.
Possibly my favorite quote about the potential depth of experience with live music comes from an interview I was lucky enough to do with Andy Hull of Manchester Orchestra: "The first time I ever felt evil at a show, which was when I knew I had to play music, I went to a Ben Kweller and The Anniversary concert, and The Anniversary was playing 'Sweet Marie,' and I remember the inside of my body just twisting inside and out and just feeling like I shouldn't be here, but the only thing I really need to do is be here. It happened again to me three years later watching The Blood Brothers, and I was just thinking 'This is evil, and I love it.' I'm not a sadistic weirdo, it's just that feeling of being drawn into something."
Nothing will ever replace the experience of live music. However I believe the internet has the power to enhance experiences, both personal and communal, with music. I see it in my daily reading of music blogs and bands' MySpace pages, where millions of people come to find out the latest news on their favorite bands and discover new music; but perhaps more importantly to our discussion, they comment the hell out of those posts. They actively seek extensions of the music they love. They want a greater experience.
The question then becomes: how? It seems to me that the potential power of the internet is not even close to realized, especially when it comes to music. Sure, people can listen to or buy nearly any song they want with a quick click, they can watch videos, and can post a few lines of their own about their feelings on music. But now they want more--more access to the artists, more music, more (or at least better) ways to discover new music.
It strikes me that iTunes, in all its glory, is stuck in the first iteration of the digital music revolution. There are hundreds of startups who all think they have the answer to the next iteration, but few attract enough users to back up their claims. Furthermore, they each seem to seek out their own niche. The biggest problem is that they all focus on evolution rather than revolution. People want free music? Okay, we'll sort of give it to them (not in a format that they can put on their iPod) and support it with ads. If iTunes is Digital Music 1.0, these startups are merely versions 1.x. No one is ambitious enough to really take on the music industry as a whole.
Do I have the answers? No. But I believe the future of music will rely very heavily on the internet, and will do so because the internet will allow for a greater musical experience. Some of the innovation may come from paying closer attention to what people say they want, but there is also a portion that will stem from a solid understanding of both how people experience music (both personally and communally) and the capabilities of the internet.
Any ideas? What would enhance your musical experience (be it via the internet or not)? If you dream it, we can do it.

V-Day Special: My true love--the internet (and counterpoints)

2008-02-14T14:04:00.004-06:00

I just had a long and interesting conversation with my friend Jayna about the merits and shortcomings of the internet (which, oddly enough, came on the heels of my half-serious proposal that I move back to Milwaukee and study astrophysics). The fundamental difference between us (at least as I see it) is that, given the option, I would prefer to live in the future, whereas Jayna prefers a romanticized past. I can't say who is "right"; I think there are a number of very good points on both sides, which is why I'm sharing it and asking where you all stand?
(sorry for the awkward formatting and spelling and such--I guess that's one drawback of conversations via internet rather than in real life, huh?)

Jayna (in response to me questioning whether my fascination with the universe can really be considered a "love"): uh, yeah
your face brittens up and you get silly
but maybe you love tech start ups just as much
you probably do, i just like the litterary nature of you turning your world into books and discover the universe after an english degree

me: love is a pretty strong word for it--i'd call it closer to a fascination. i'd have to get to know it a lot better before i'd throw out a term like love.

Jayna: oh, you boys are all the same
you pretty much know if you love something
its just a matter of if you are willing to put in the hard work

me: that's true and i agree with you there, but that doesn't change my view that this is much more of a fascination than a love
i love the internet, i'm fascinated with space and physics

Jayna: yeah, i get it
thats cool
i guess i dont really get the love of the internet thing
but i get a love of the universe

me: i mean, the internet is like the universe on a much smaller scale. it started as a single piece of code on a single computer, and burst rather rapidly into an ever-expanding network with tons and tons of different uses and iterations.

Jayna: yeah, i thought you would make that connection

me: plus it's a place where geeks like me can have a field day
haha
of course!

Jayna: still doesnt turn me on
sad to say

me: that's fair
for many people it doesn't
i've been fascinated since i was about 4 or 5 and my brother started chatting over the internet with his friend reed on our commodore 64

Jayna: i wonder, what kind of a field day do you have on the internet
i tend to find it alienating after a while

me: well, finding out a lot about the universe, talking to friends, reading about politics, coming up with contacts for a company that is based entirely on the internet, etcetc

Jayna: yeah, i guess your imagination takes you

me: it's nearly as boundless as your imagination--if you are adept enough with it you can create and do anything
it's maleable technology
and frankly it's still very very early on in its existence and power
our kids are going to wonder how we survived in a world where we couldn't constantly be connected to every square mile of the earth over the internet
from anywhere
i think the real beauty in facebook is that it's the first big thing on the internet to truly model real life. granted i think many of the whole applications features and trying to become an ad network and all those business moves have diverted from the original concept of a social graph (which is why i don't facebook much anymore), but the concept itself was revolutionary and i think is an indicator of what's to come

Jayna: so as a social networking tool, you think it is successful

me: well, yes and maybe.

Jayna: i just cant get away from the voyeristic outlook of the whole thing
we used to express our character then the cult of personality proved a stronger force of power

me: yes, in its original iteration, the idea of the social graph was a successful model of real life and created a sort of extension of ourselves over the internet. the maybe part is in the definition of social networking, or more accurately what makes a successful social networking tool--one that models real life? one that introduces you to new and relevant people? one that creates a whole different network on which to interact? a good deal of that is up to personal preference

Jayna: now what is it
we express an image of ourselves in a third relm ont ehinternet

me: define time frame on your last comments--is that within facebook or within recent human existence?

Jayna: we are more distanced from ourselves as we are overly consumed in others lives and how they view our own life

me: i don't believe that's true at all
i think that only through other people do we find ourselves
i think the whole being consumed in others lives and how they view our lives has been a personality trait of many humans for many years. i don't think that's changed with the internet.

Jayna: if human interaction is how we define ourselves, then doesnt the internet lack a fundamental aspect

me: how so? it's just another form of interaction
it opens us up to far more people

Jayna: without human contact, without a voice or a face, a gesture. its a projection of human's interacting
like plato's cave
i agree that we are fundamentally consumed in others lives but i also believe that is a negative aspect of societies
it think its better played down in the media and new technologies will only worsen it

me: you have too short a view of the internet. yes, that's what it has been to this point, but look at the hot technologies these days--lifecasting, internet phone services with video capabilities, video things in general--it's bringing real people together more and more as the technology to do so develops
so you'd also argue that reality tv, and tv in general, and radio before it, and newspapers before that are all signs of the downfall of society because we care increasingly more to find out more and more about other human beings?

Jayna: real people with the infrastructure to support this rapidly changing technology
yes, exactly
not exactly, actually
i think you know where i would draw the line to your statement

me: so you think we'd be better off as jungle elephants, living by ourselves and wandering, only to come together to mate and then separating again so that we could exist in our own little world and not know what other creatures of our species are like?
no i don't know where you'd draw the line, it's an evolution over time and i think it's shortsighted to dismiss the internet as separate from that evolution

Jayna: for the most part, i tend to romantasize that image and flirt with the idea that it would be better
yes
:(

me: so you don't want to be smart? you don't have an innate itch to learn, not necessarily in the academic sense, but skills and knowledge that can help you live a more fulfilling life?

Jayna: and how can you understand something as an evolution in teh first 50 years of it
you are being presuptuous as well
that is taking it very far
all i know for sure is that i would rather being having this conversation with you at a bar and in "real life" then like this

me: because of its reach, potential for greater exponential growth (like similar technologies before it), and because of its encompassment of previous technologies. it fits the evolutionary graph perfectly.
that's fair but in a month you're going to be in india and a few years ago there's no way we could've been having this conversation

Jayna: isnt an evolutionary graph subject to change like anything else :)

me: absolutely!

Jayna: a few years ago we would meet at a bar after work like normal people
and while im in india i intend to be in india
not projecting myself into a vertual space which i could od from anywhere

me: but it's not going to have crazy shifts and such--technology to this point follows humans and humans are predictable. now, a few years down the road when we build technology that can outthink us on enormous levels, the graph may see a shift, or perhaps a completely new graph will begin as the machines we've created go on to create their own technologies
that's fair, but don't you find some consolation in the fact that you CAN contact people back home in case of an emergency or just because?

Jayna: yeah and i could have done that thirty years ago aswell
i dont dislike all technology
i just think we need to seriously ponder the effects of teh internet on our lives and society

me: 30 yrs yes, but 100? not so much.

Jayna: 100 yrs ago my family was in india
i would have just walked to their hut
:)

me: oh sure it's a constant struggle, but it's not a new one--it's one we go through with every new technology, which is why so few major changes are adopted overwhelmingly quickly (just take a look at the news stories from the early 90s on the internet, or newspaper articles about radios)
that's not the point at all! the point is unversal connectedness and becoming a global society!

Jayna: you feel a part of a global society
because of the internet
of is this something you imagin in 50 yrs
the internet gives us access to an elight global society for sure
like being a tourist of the owrld

me: i feel much moreso a part today than i would've 50 years ago, and i imagine in 50 years we'll feel even moreso as the technology evolves

Jayna: it doesnt replace lived experiences

me: it's not supposed to!
and again, the access to elite global societies is such a short-sighted view of this stuff

Jayna: then how can you creat your global society

me: the internet is not a replacement for real life, it's an extension of it

Jayna: so you think we will end famin and thirst and then have universal internet access
or does the internet come first

me: obviously i'd prefer the whole thirst and famine and war to be ended first, but look at the efforts of the OLPC program and intel's coming answer to it to see that the internet is spreading to these areas as they are developing

Jayna: i just think those problems are symbolic of the inability of our 'global society' to be function on a universal level
that seems to be how you imagin this new interaction
as a great equalizer
that doesnt exist

me: would you not agree that on a broader, longer-term scale we seem to be improving such things? the internet is helping us recognize these issues and bring them to the forefront so that we can assist with them

Jayna: to the forfront meaning what
we know about darfer (sp?) but what can we do with this info

me: meaning to the attention of those with the power to change these problems for the better

Jayna: those people always knew about it

me: are you kidding? how many people have mobilized and donated to causes like darfur based entirely on the internet?

Jayna: so you believe those donations are an answer

me: no. again, the internet is not a replacement for real people taking real action, but it helps those people doing positive things gain both monetary and moral support

Jayna: you can through money on a problem to make this new global society feel better about the problem but that doesnt chang ethe institution that creates and mantains it

me: so what alternative would you posit in that case?

Jayna: there you go, an org. puts up a web site and people donate. they are donating to a project idea
not a hard reality

me: do you think the internet is a distraction to those people promoting and implementing change?

Jayna: yes
i think most of the "change" today is

me: how so?

Jayna: green washing
global warming lectures
its a way to make us feel like we are doing are small part and fall a sleep at
it keeps us from thinking deeper

me: again, what do you posit as an alternative?

Jayna: human interaction
simple time and energy

me: and how would we "think deeper" if we didnt know about any of this stuff?
the more we know the more we can take action on causes we truly believe in

Jayna: we dont have to think deeper we have to act deeper
are actions have to count more

me: not everyone is going to dedicate their lives to alternative fuel, but by pushing that message on a broad scale, you're more likely to influence more people to take up the cause and act seriously
fine act deeper but how do you find out about these things then?

Jayna: local initiatives
if we all cared a bit more about what was happening around us instead of what star is preggy or who just ODed
i know i am not that person but i think it would be nice if there were more of them
i know it is not that simple

me: okay so my "village" of milwaukee magically discovers this global warming problem and 1/1000th of our population (a HUGE proportion) decides to take up the cause seriously and act upon that. unfortunately, our small village can't have a global impact without communication to other villages that need to join in the crusade. additionally, if 1/1000th of our population in milwaukee is dedicated wholly to making a difference in this cause, other important things get neglected
sure some people use the internet to read about britney, but they would've watched it on tv before, or would have listened to it on radio before that, and would have read about it in newspapers before that

Jayna: im not soley talking about the internet inregards to this media sensation
tv and radio included

me: people are naturally curious about the lives of other people, and putting certain people in the spotlight allows many people to live vicariously through them and also have something to interact with others about

Jayna: i have somehting i want to say about the global issues thing you jsut mentioned but i should get some work done

me: im not promoting it, and it's by no means the main utility offered by the internet, but the internet is not the first technology to be taken from it's original purpose to be utilized for other outlets of human curiosity as well (namely, each other)

Conversation to be continued tonight over drinks. Please please please weigh in on this!

Mathematical Politics

2007-12-29T15:54:00.000-06:00

I just finished watching the BBC Documentary called "Dangerous Knowledge" on the work of Cantor, Boltzmann, Godel, and Turing on the concepts of infinity and irrationality in mathematics and physics. First of all, I highly reccomend that everyone do some research into these guys, even if you don't watch the documentary.
At the end of the documentary, the host leaves us with the thought of whether we as humans have matured enough to live with uncertainties, or whether we are destined to repeat the mistakes of the 20th century and pledge blind allegiance to yet another certainty. He alludes earlier in the video to the difficulty Godel encountered by determining that there would always be problems that exist outside of human logic while living in Austria as Hitler came to power as a leader who declared such certainties that people blindly followed him.
I ask you to take those thoughts to heart as our own elections come. Please don't judge a potential leader on their answers or how certain of them they are--there is not enough certainty in this world in which we live to levee the sorts of blind judgements our political system traps the candidates into making. Instead, if you can, judge them on their critical thinking abilities and their abilities to adapt to both work in depth on issues and also take a step back and look at the world-view ramifications of any actions--a skill that I believe can only be displayed by someone who has a multitude of life experiences outside of politics and govnernment.
I fear we have become so comfortable in our system of looking for easy answers in our politics and policies that we have become succeptable as a country. It's a pattern that has repeated throughout history--if we don't use our brains more effectively, we will fall victim to the blind power of another entity (if not our own, if we aren't cautious in our checks and balances).

Top Albums of 2007

2007-11-28T14:47:00.000-06:00

Yes, here it is: the obligatory "Best Albums of the Year" list. I mention the EPs because those four are fantastic albums in their own right and are better in my mind than most of the LPs this year. Is that the way of the future? Or are those bands just on the verge of breaking out strong?
Also, as a special treat this year, enjoy the media player with a track or two from each of the albums listed below.

SeeqPod Music beta - Playable Search

LPs:
1. Kaddisfly- Set Sail The Prarie: A clear winner in my book. These guys simply get music and get life. As with any "progressive" rock, you have to have a taste for the sound before you can dive deeper, but I highly encourage everyone to pick up this album and give it a chance. And if you needed any more reason to purchase it, a goodly chunk of the profits (trust me, they don't make much as is) is donated by the band to the Mr Holland's Opus Foundation, supporting music education in schools.

2. Against Me!- New Wave: Most accesible and yet deepest punk rock album to come out in quite a while. I'm not usually a fan of shouting every line, but these guys pull it off with grace. Their nonstop energy carries over to their live sets, too, which they play without pause for banter or tuning--just plain rock.

3. House of Fools- Live and Learn: I'm not really sure why more people aren't huge fans of these guys. They have some pop sensibilities coupled with a folk-rock feel and ripping guitar solos. What more can you ask from a few North Carolina dudes?

4. Modest Mouse- We Were Dead Before the Ship Even Sank: Modest Mouse is simply the best thing the major labels have going for them these days--despite "selling out," they continue to spew brilliance and reinvent themselves with every song, just like they have for a decade.

5. Of Montreal- Hissing Fauna, Are You the Destroyer?: Man, these guys are out there. But man, do they ever pull off some beautiful songs. On this album, they embrace their own quirkiness to put personality into twelve delicious pop tracks.

6. Say Anything- In Defense of the Genre (sorry, no mp3s): I, like many folks, put this epic double-disc album as an early favorite for album of the year, simply based on 2004's ...Is A Real Boy. While Max Bemis and the gang may have fallen just shy of their target (thanks in large part to the relative inaccessibility of much of the album, which is long and works best when listened to straight through--not something a lot of people have time for), they did manage to create one of the most lyrically brilliant personal journeys in recent memory.

7. Iron & Wine- The Shepherd's Dog: I hadn't been an Iron & Wine fan until this album--I had left him to the swooning coeds who went ga-ga over his previous efforts. But WOW what a display of musicianship in every sense of the word. He definitely made a believer out of me.

8. Limbeck- Limbeck: With new drummer Jonny P in tow (formerly of Milwaukee favorites The Benjamins), Limbeck bounces back strong from a mediocre sophomore effort. This is what life on the road sounds like.

9. Sage Francis- Human The Death Dance: In his most personal album in recent memory, activist/rapper Sage Francis plays with many musical and lyrical concepts that hadn't seen light on his previous albums.

10. Anberlin- Cities: One of the most passionate rock bands around, these guys are poised for a serious breakout. Cities takes their force up yet another notch from Never Take Friendship Personal. Can their major-label debut match that?

11. Steel Train- Trampoline: A reinvented sound (much more upbeat and uptempo) brings these jam-band-turned-pop-rockers up a level, and hopefully people will take notice.

12. Radiohead- In Rainbows: Did you think I was gonna leave it off the list? Nah. This is definitely one of the best albums of the year, even looking beyond all the hype of the pay-what-you-want release. I'd put it higher, but as much as I respect Radiohead, I'm so rarely in the mood to listen to them that I just haven't spent the time with it.

13. Aesop Rock- None Shall Pass: Some absolutely fantastic tracks on this alt-rapper's latest effort. See especially "None Shall Pass," "Five Fingers," and "Coffee."

14. They Might Be Giants- The Else: Gotta show these veterans some love for their best effort since Factory Showroom. While it lacks a bit of the absurdist energy of their earliest stuff, John and John get back to what they do best: writing quirky pop songs laced with ingenious metaphors.

EPs (in no order--they're all too good to compare)

1. The Reign of Kindo- EP: This is what happens when a talented emo band loses its lead singer and decides to jam out for a while, only picking up a lead singer at the last minute. The result is an alt-jazz-jam EP that maintains the overall sound of This Day and Age but pushes their own musical boundaries into completely new waters.

2. Edison Glass- Let Go: Christian rock gone horribly right. While A Burn or A Shiver was a solid LP with 5 or 6 really worthwhile tracks, Let Go is a quick and gloriously appealing peak at what these guys have planned for the future--complex, catchy riffs coupled with a few extra Red Bulls. This is what you love to see: a band really taking what they do best to a new level.

3. Days Away- Ear Candy For the Headphone Trippers: Fueled By Ramen made a horrible mistake dropping these dudes, though there's no doubt they don't fit with the Fall Out Boys, Panic! at the Discos, and Gym Class Heroes that comprise that label. These jam-rockers have recouped incredibly well from their being dropped, and continue to play one of the most entrancing live shows around.

4. Ben Karis-Nix- We Are Giants Now: At the low cost of free, this is far and away the deal of the century. After the disbandment of Jupiter Sunrise earlier this year, Ben has ventured out on his own. Please please please do yourself a favor and go to http://www.myspace.com/benkarisnix and download the tracks (and maybe even buy yourself a poster or shirt or something).

The best things in life aren't things to a fugitive

2007-11-27T15:10:00.000-06:00

As I sat a week or two ago in a small church in suburban Dallas, listening to a Japanese virtuoso flying over notes on a Stradivarius, I could help but think how lucky I've been in my life. Not only that, but all of the things I've been priviledged enough to experience have been through the generosity of others. A few short highlights of my fortune, just in the past year or two:

Played Augusta National (every golfer's dream), and a handful of other Top 100 courses
Traveled Scandanavia
Got to be on stage (and back stage) at Warped Tour, watching a sea of people screaming lyrics back at the bands on stage
Visited (at least) 13 different states in one year
Sat 5th row at an NHL game
Graduated from a top 10 liberal arts college

And the list goes on. Now, as I work to make TechJam 2007 a success, I find myself dependent on other people more than ever--but not for physical generosity; rather, for their stories and brains. In many ways, I think that's even more valuable. What we can learn from people and their experiences can often trump what experiences they can give us--not only do we get the lessons of the experience, but we learn more about that person as well. In that sense, I'm extremely excited to hear from the wide variety of folks participating in the forum--to facilitate their telling of their own tales, and subsequently creating an amalgam of ideas from those diverse experiences and opinions with an eye towards the future.

I can't offer them much in return, other than the opportunity to hear each other's tales and ideas and grow themselves from that. If I ever do have the opportunity to offer more (the forum's purpose is to create a concept for the future of music that will benefit both artists and listeners), however, I absolutely will do so. In the meantime, I can only ask that you check out some of their music, and if you like it, please support them in any way you can:

Ben Karis-Nix: http://www.myspace.com/benkarisnix

Feable Weiner: http://www.myspace.com/feableweiner

Limbeck: http://www.limbeck.net

Kaddisfly: http://www.myspace.com/kaddisfly

Manchester Orchestra: http://www.themanchesterorchestra.com

Ludo: http://www.ludorock.com

If God is Love, then does that make John Lennon Jesus? (or, Worshiping cheese colored underwater vessels)

2007-11-05T21:30:00.001-06:00

To say that The Beatles' Yellow Submarine deeply affected me would be a profound understatement. Walking into Blockbuster that overcast Saturday, I would have never guessed a few hours later I would not only be supremely happy, but also living with a new view of life, and whatever might be beyond life.

At that point in time, my friends and I were still in deep mourning for our good friend Jay Chitty's death, Jared and I fretted over job prospects (or lack thereof) while Spencer and Scags nervously awaited responses from med schools, and I was strongly considering quitting the golf team.

Spencer had been telling us about the glory of Yellow Submarine for months, unable (or unwanting) to quite give an idea of the plot: "You guys just have to see it." I snubbed him, thinking "I'm over the oldies stage of my life, thanks." Little did I know I was in for a revelation.

I'll give you all the same treatment Spencer gave me (trust me, go see it), but suffice it to say that the moral of the story is "All You Need Is Love."

That got me thinking--isn't it rather amazing how ubiquitous the term "love" is, and yet there isn't really a solid definition (although my personal favorite is "a neurochemical con job"). Isn't that awfully similar to God? I mean, traditionally almost everyone believes in God (of one kind or another), yet there are no certain definitions of this greater being.

Then I started to think, well, what do people really want out of this God character? A trip to heaven? Well perhaps that's it, but for how many people and what percentage of the time are they thinking in those terms? How many prayers are simply "Please God, just let me into heaven"?

Instead, people turn to God in times of need or want or hardship (note that the poorest have also traditionally been the most religious). What they seek from him is a little help (as a friend would) and unconditional love. Well, would that be much different if it were just unconditional love returned? I know that would help me through almost any hard times.

I also find in my experience that people who worship God often put their faith more into other people, too. But really, in both cases they're just seeking love. They deeply believe it exists, so they try to find it on earth as well (not to say the rest of us don't, just in different ways and to a lesser extent). They treat love as devine when they can't find it in another being.

The Bible even goes so far as to say that "Whoever does not love does not know God, because God is love" (1 John 4:8). Does that not end the argument right there? Oh, perhaps they don't quite mean that literally...

Yet, they need absolutes in their lives, and if they can't find them immediately on earth, they need to believe there is an absolute beyond life. I believe the more absolutes you accept, the more obstacles you put between yourself and others. I've recently had multiple jewish friends dumped by significant others because the parents didn't want their children marrying people who were inevitably going to hell.

In my mind, there are so many different definitions of the afterlife throughout time, there is nothing certain enough to stop me from deriving pleasure from this life--which, interestingly enough, comes from love, be it friendly, marital, or material.

Now, this is not to say there isn't a God. I am not so atheistic to deny his (or her) existence, but if he or she does, I think people significantly misrepresent his or her role in their everyday lives. I'd also like to think that if this God is so great and loving, why can't he accept me for who I am? Why must I grovel to win his affection? Can't he be everyone's homie? And how could (and why would) he create a world where some people believe in him and others don't?

I think there was a lot to be said for the counterculture movement of the late 60s. Idealistically, they had it right--all you need is love. Unfortunately, they let that thought consume them and failed to do much productively (other than artistically).

After watching Yellow Submarine, my roommates and I, who were already very close, became inseparable. You would rarely catch one of us without another, and you'd rarely catch two of us without smiles on our faces. We love each other deeply, and we aren't afraid to say so and put faith in that love. Yet we still got our shit done. Jared and I are gainfully empoyed in our fields of choice, and Spencer and Scags are very happily working in research labs.

Am I so cracked out to adopt this theory? As our Finnish friend Eija posited on a trip to Estonia, "What do you all think is at the end of the universe? I think sand. Prove me wrong." Well? Have at it...

Davidson Basketball in the news

2007-10-31T14:53:00.000-05:00

http://www.usatoday.com/sports/college/mensbasketball/southern/2007-10-30-Davidson_N.htm
I know I've gotten this link from multiple alums already today, but perhaps the rest of y'all are generally above reading the USA Today (can't say I blame you after the pathetic excuse for writing displayed in this article). Nice to see the boys getting some more great press--they've been getting a lot over the offseason, and I like to think it's all well-deserved.
Oh, and if you want to download all or parts of the Davidson Men's Basketball Schedule using Click2Remember, click here: http://www.click2remember.com/elephant.asp?schedid=200710237911

"I paid $160,000 for WHAT?!?!?!"

2007-10-24T21:23:00.000-05:00

There's a lot of controversy lately about the US News' annual College Rankings--are they trustworthy? Can colleges really be boiled down to a series of categories and evaluated and weighed to determine overall quality? Isn't the most important factor in finding a college making sure it's a good fit for that individual, regardless of what anyone else can say?
Well, yes, sorta, and yes. And I'll tackle those issues in reverse order.

The most important factor is definitely fit. And that can't necessarily be determined even by endless visits, let alone college rankings. Things change. It's college. The whole point is not to be spat out the same person you went in. For some, they change early and they need to transfer to somewhere that fits them better. For others, it's a longer process of development, of shaping and being shaped by all things they are exposed to at their college home. I was lucky enough to be part of the latter.
Davidson was definitely, without a doubt, the perfect place for me. That doesn't mean I liked it at all times, by any stretch. But I know I do best when I'm pushed really really hard--harder than I want to be pushed at times. I learn best when I'm given a challenge I've never seen before and very little context or instruction. Davidson gave me the best of both of those things. The arguably most important thing I learned from college was that no matter how smart I thought I was or how good I thought I was at something, there was always someone better; but the only way to get better is to emulate those people. Sure, it was frustrating--grade deflation, trying to earn respect from a walk-on spot on the golf team, balancing sports, social life and school work--but ultimately I think it taught me more (though not necessarily in the classroom--I know I learned far more from people and about life in general than anything that can be taught) than anywhere else could have.
What you take away from college can't be written in a textbook. Nor a rankings list, for that matter. But those ranking systems are there for the people who care about such things. 99.9% of the time, if you go to State School X-City Branch Y, you inherently care less about where some people rate your school--it has what you want, be it a certain major, or a sports team, or a certain social lifestyle. I mean, from how many people do you hear, "Man, I hated college. It was the most miserable time of my life." And for the one person you run into in a lifetime who might say that, you have to respond "Why on earth did you fork over a fortune to go, then? And why didn't you transfer?"
For those people who do care about rankings, I don't think there's any disputing that the rankings are relatively accurate. Obviously they aren't perfect determinations of who should go where--for that we'd all have to be judged on some life scale a whole lot deeper than the SAT--but they do good research and generally report facts. As I mentioned earlier, it's up to the student and his or her family to determine whether or not to care about those facts. People don't always bother to follow the rankings (my roommate is much smarter than me on paper, yet goes to the 67th ranked university vs my 9th ranked college). The reviewers also don't bother to even try to rank, say, liberal arts schools on the same scale as large universities--they're so inherently different that it's rare for people to look at both.
All in all, college comes down to who you are and what you care about. To some, that's arbitrary rankings of what reviewers deem worthwhile statistics about schools. To others, it's any number of things. That doesn't mean the rankings are any more right or wrong than football rankings. It's merely a measure of certain priorities that many people share. In football, it's winning against other highly ranked teams. In colleges, it's high test scores, solid retention, and alumni giving. In both, there are other factors that enter into preference. In football, it's your home team or alma mater. In colleges, it's social life, location, cost, programs, and so on. Despite sharing it with so many others, college is the most personal experience one can go through--and no exterior rankings can affect that.

you can never go home again

2007-10-01T21:17:00.000-05:00

as many of you know, 10 of my closest college friends (including "the deuce"--my 3 senior year roommates and i) and i spent last weekend in the charlotte/davidson area, both to see each other (my main objective) and to go to oktoberfest (aka beer orgy). reflecting back on it, very little excitement happened, there are no good (crazy) stories to tell (and yes, mom and dad, i'm old enough to tell them if there were), and yet it was the best thing that's happened to me in a very long time.
and the worst. no, i'm not talking about the extra $300 i had to spend to get there, nor the 1.5 hr airport delay because the pilot needed more sleep, nor the fact that i spent 2 nights on a floor with a couch pillow under my head; rather, i speak of the realization that it gave my bretherin and i on our return to our own cities: the realization that our time together will be relegated to these occasional weekends (at best) together, an alottment time that will likely dwindle as the years progress. that, to each of us, is painful.
i say that with a degree of certainty because by the time my afternoon bathroom break at work rolled around, i had already talked to both spencer and jared about it.
my parents, relatives, and friends who know the deuce and have seen us together have all told me that i must do everything in my power to stay in touch with these boys. i must admit, my first reaction was "duh." after the four of us spent a year sleeping within 50 feet of each other (on the rare occasion that we'd go to bed if someone else was still up and hanging out), i couldn't fathom a world without these boys. even the tragic passing of our good friend jay chitty on new years' eve couldn't force my mind to function in a world apart from my best roommates and best friends.
graduation happened (producing what i believe the longest-held smile of my lifetime--from the moment i finished my final exam to the minute i boarded a plane, nobody could burn that smile off my face with acid), then i went abroad (scags and jared went on cruisies--not horrifically different from any other vacation), then i saw jared in chicago and milwaukee for a few weeks at least once a week, and two days after i last saw him, i saw spencer for a night and a morning in birmingham. then a week or two later spencer visited me (bringing the remainder of my belongings) in dallas. so what was so different about this trip? did a solid month away from all deuce members really make the difference to us all?
no, i don't think that was it. though i suppose it probably contributed. instead, i think that when we were in davidson, we acted exactly like we did when we were in school. and it was awesome. well worth every penny of the plane ticket. but then when we recovered from our oktoberfest hangovers (which aren't that bad--when the fest ends at 7pm, you generally sleep enough to be okay), there was nobody around to play with. everyone just kinda disappeared. right when we had everything as it had always been and we were supremely happy again, it was all taken away.
as i spoke with jared and spencer earlier, we all agreed on one thing: being apart from each other sucks. sure, we're all pretty happy with our lives (they both have awesome significant others from davidson, and spencer is near many others of our friends), but there's a huge void when any one of us is missing (yes, spencer makes the same sized void as scags).
that being said, we're pretty smart dudes and will learn to adapt, i'm sure. we are already pretty outstanding (by every accord i know) at keeping in touch--there are husbands who don't talk to their wives for longer than we go without a conversation. i'd die without having jared's e-mail, spencer's google chat, and scags' aim addresses all available at work (no it doesn't distract from our productivity; we don't use it that often--it's just a lifeline). i think any of us would pick up the phone for one another at any hour in any situation. i send out cds monthly so we all live to a similar soundtrack (as we did at school), and we keep a private blog to have another mode of contact. i'll even admit that i'm glad i played fantasy football with them--i don't even care who wins or loses, i just don't want to miss any opportunity to talk (shit) with my boys.
but despite all the talk, nothing can replace being together. i hope against hope that there comes a time in our lives when we can all take a week vacation together (at least every other year). whether we be in our home states of wisconsin, west virginia, new york, and alabama, or the furthest reaches of the world, i sincerely dream that we can find a way to get together as often as humanly possible. i want to do better than all those roommates who think they're close because they post on each others' facebook walls once a month, or drunk dial each other every few weeks. i know we can, because i know we all want to.
we may never be home in davidson or ryburn002 again, but i'll be damned if i ever let anything come between us.
oh, and if you want one more example of how close we've become? i told jared this morning that i had randomly picked up a copy of jack kerouac's on the road in the airport last night and was on page 100. his response? "i'm on page 175."

A New Vision for Virgin America

2007-09-24T17:38:00.000-05:00

I am a political virgin. I know far less than I should, and probably can't fully comprehend what I'm missing.

I am what America needs.

Not me specifically, but the country as a whole, or at least those interested in politics, should take a step back and see things through the eyes of those with no political ambitions--see how corrupt (both legally and morally) our system has become. Only then can we make a fresh start on Democracy.

I use the term "virgin" intentionally to allude to the strategy of Richard Branson and his Virgin brands. In each market his over 350 companies occupy, Branson and his senior staff knew nothing coming in--they were virgins. And in nearly every market, they have succeeded, at times immensely.

When industries have been around for a long time with a single route of progression, with very few jumps or bumps, they are vulnerable. Same goes for government. America, while only a country for a relatively short period of time, has a government that has undergone few major changes since its inception, and has gone down a steady path into turning government into politics--a path that now leaves us incredibly vulnerable.

I read a post today from a canadian asking where our third party was. While third parties don't often win, they tend to be more progressive and can win some swing votes from both sides of the aisle on certain issues. In a time that will almost definitely prove a turning point one way or the other in America's (and the world's) future, we need someone who will completely reshape our thinking--someone who comes in with fresh ideas, rather than just a cleaner political path and more fundraising on the campaign trail.

I had high hopes for Obama--after his speech at the 2004 Democratic National Convention, I couldn't wait til he ran for president. He had my vote, no matter what.

And he may, still, but only as a compromise vote (the kind I feel like we're getting accustomed to making). But he's had the opportunity to be completely fresh with new ideas and direction and a positive attitude (a spunky virgin, if you will), and I fear he's been dragged down into the politics.

Now am I about to run for office? No. I'm not the right kind of virgin--I know nothing about government and policy. We need a virgin who's been looming in the shadows, doing his or her homework, and formulating the best revolutionary (rather than evolutionary--we've gotten really good at fighting the previous war) ideas to make our country great again.

I truly fear that if this doesn't happen, America might fall from superpower status within my lifetime. I try not to buy into all the scare media, but regardless of the day to day coverage, there's no denying that we've made more enemies than friends (if any friends) in the past decade. Many countries don't like us much right now, and frankly I don't blame them. We have a lot of luxury here that's easy to hate, especially when it's shoved down your third world throat as we try to "liberate" you from our high horse.

Anyone who's willing to get down from that horse and pull his or her own weight in changing our country and its relationship with the rest of the world has my ear, and potentially my vote. My guess is those capable are probably political virgins. Don't be scared to step into the ring--lord knows we're tired of hearing the same two sides going at it, and so is the world.

a religious experience

2007-09-14T01:00:00.000-05:00

so i know i promised a blog about religion and God and all that yummy goodness, but it got a little late and i can't help but write about how incredible of a band manchester orchestra is. i just got back from my second conc...er...experience of theirs.
the first time i saw them, in february, there were maybe 10 people in the casbah at tremont music hall in charlotte. now, after tours with say anything and brand new, and last week's appearance on the late show with david letterman, they drew closer to 400 as headliners.
if i had to describe the show in a single sentence i'd say this: they are the only band i have ever seen who has been able to start a pit and have an entire room go 100% silent (not a whisper) all within the same song. the passion that lead singer/guitarist andy hull puts into his music is unmatched by anyone i've ever witnessed. even my favorite bands to see live, kaddisfly and less than jake, look like they're going through everyday routine compared to hull's embodiment of a tortured and constantly questioning mind exploding through music and song. the band began the show (after a 1 song solo intro from andy) getting their two "poppy" songs off the table ("wolves at night" and "now that you're home") before delving into the depths of all that is manchester orchestra. half the set is comprised of andy singing over plucked electric guitar strings, while the other half is an arena-rock-level show, replete with 3 layers of guitars, bass, keyboards, and lots of toms and cymbols from the back of the stage (though it should be noted that the separation of solo and all-out could happen many times within the same song). hull ended the main set (before the solo encore) with a powerful (understatement) rendition of "where have you been." after screaming variations of "God, my God, where exactly have you been?" for multiple minutes, it was all hull could do to lean his exhausted head up against the microphone. the room was as still as a wooded pond at night--not a peep from anyone for the longest 3 seconds of any of our lifetimes til hull backed away and thanked the audience.
after a couple more solo songs (again, the room fell silent, enthralled by hull's every word), i was fortunate enough to meet up with andy briefly--he still remembered half the questions from the interview i had done with him in february. he said he loved that interview and now hates the ones that he does on a daily basis--which made me feel pretty darn special. we chatted a bit longer (he said he'd help click2remember any way he could), and i gotta tell you, he is an absolutely incredible person, through and through. even if you don't necessarily like the music, i really hope everyone will support these guys.
more on God tomorrow, or another day, but in the meantime, treat yourself to the genius and passion of manchester orchestra...

thanks God!

2007-09-13T13:48:00.000-05:00

A funny thing happened at Camille's Sidewalk Cafe in Plano, TX today...
I was just sitting there, quietly eating my salad and staring out the window, oddly enough contemplating what I would do if I were to become a stay-at-home Dad if my wife had a better paying job she was more passionate about than I, and this probably 45 yr old woman with a kind smile, brown hair, a little extra weight, and fairly fashionable attire (who I noticed had been looking at me for a little while) came over to me and struck up a conversation:

Her: “Excuse me, I don’t mean to interrupt your lunch, but are you Christian?”
Me: (thinking she was asking me my name, like I looked like one of her son’s friends from grade school all grown up or something) “No, I’m not, sorry…”
Her: “Oh, well, I was just sitting over there watching you and I had a moment of clairvoyance that God was calling you to become a millionaire.”
Me: “Really? Wow, that’s very nice, thank you!”
Her: “Yeah, it was really incredible, but it was crystal clear. Best of luck, have a great day!”
Me: “Thanks! You too!”

My friends and I have had a couple encounters with very religious folks at restaurants in the past (one resulted in a woman screaming "Are you coming home????" to my friend, the other was a much calmer encounter involving a woman declaring that Jesus Christ knew what the meaning of the hammerhead sharks on my roommate's t-shirt meant), but this woman appeared to be far and away the most sane and normal. She was just out doing some home decor shopping, reading a bestseller novel over lunch, when God spoke to her through me.

I have no good explanation for this encounter, mainly because I'm relatively ignorant on the subject of what makes people believe God talks to them (not saying it doesn't happen, just saying I don't understand it). It definitely has made me think, however, and I will more than likely be posting a longer post about my thoughts on religion in general tonight after the Manchester Orchestra concert (a band whose music focuses quite a bit on the struggle of whether or not God exists--from moments of certainty, to an instance of over a minute of screaming "God, where have you been?"). Y'all may not be ready for my wacked out religious thoughts, but hey, who cares--I'm gonna be a millionaire, right?

you know you've grown accustomed to the south when...

2007-09-11T16:26:00.001-05:00

a quick anecdote for those of you up north:
i walked out to my car this morning and was very tempted to turn the heat on. it felt downright chilly outside. i looked at my car thermometer and it read 68 degrees.
as i walked to my car to go get lunch, i wished i had my sweater with me. it wasn't very windy, but there was a distinct nip in the air. the temperature? 74.
apparently i can get used to this texas heat thing pretty easily. i'm gonna go play some tennis this evening to get warm. maybe i'll wear my courderoy knickers to make sure i stay warm.

ty white: the musical

2007-09-05T15:30:00.000-05:00

Everything's going great with the new room and roommate, though I haven't moved in there full-time thanks to my newly purchased queen-sized boxspring's inability to make it up the stairs. Hopefully that will work itself out this weekend and I can sleep in my new room on something other than an air mattress.
At any rate, many of Mica's (my roommate) friends are indie/artsy-folks and one of the first questions I always get is "what kind of music do you listen to?" The standard answer is "anything" or "a lot of stuff" or "no country" or "stuff you've never heard of." I've decided I'm sick of hearing/giving that answer and instead I give the answer "I was raised on three things: Classical, Oldies, and Punk. You figure it out from there." A bit crazy, I know, but fairly truthful. As a result of my new answer, I've been thinking back to the albums that really formed my musical tastes. There are tons of "favorite" albums I have (a few are others by the same artists below), or formative songs, but those can all be discussed later. Here is my list of albums that had significant formative impact on my musical tastes, albums that knocked me on my ass the first time I heard them, made me think "this is what music should be":

Stravinsky's Firebird: The first piece of music that really caught my ear and made me enjoy and notice music.
The Beach Boys- Pet Sounds: Yep, me and a bazillion other people in the world. Can't get enough Brian Wilson, no matter how insane he is now.
Green Day- Dookie: revived (or helped create? modernize?) pop-punk and sent Green Day to the top, where they've stayed--whodathunk anyone could do so much with drums, a bass, and 3 chords on a guitar?
The Cranberries- No Need To Argue: Unbelievable vocals--both tender and edgy at the same time, on top of impressive musical talent. I heard a cover of "Zombie" on the radio the other day and it made me want to puke--it was SO forced; The Cranberries' music flows so easily, regardless of whether it's aggressive ("Zombie") or passive ("Just My Imagination").
Less Than Jake- Losing Streak: The CD that made me love ska and the integration of horns in music. They remain my favorite band to see live--so many years on the road, yet still one of the most admirably entertaining bands around.
Motion City Soundtrack- I Am The Movie: Inspired the dance-pop-punk craze that's so popular today (see Panic! at the Disco or any number of copycats).
Kaddisfly- Buy Our Intention, We'll Buy You A Unicorn: What progressive rock should be--utilizing many instruments, ability to speed up and slow down on a dime, catchy elements, but always moving towards a greater musical goal.
Eyedea & Abilities- E&A: My introduction to white-boy underground rap. Sick combination of skills between rapper and dj that other rappers wish they could find with their producers/djs.
The Beatles- Sgt. Pepper's Lonely Hearts Club Band: Yep, I'll admit it--I had never sat down and listened to Sgt. Pepper's until this past year. Needless to say, I was blown away.

So I guess it's still not overly difficult to classify what I primarily listen to: aggressive, yet poppy music that pushes musical boundaries, makes the listeners consider the music more carefully, and still pulls off a sound that's easy on the ears. I think I'll still go with "classical, oldies, and punk." It makes people think more.

girl...er, women?

2007-08-29T16:38:00.000-05:00

so here's something you might not have bothered to think of: most people don't graduate college at 21. okay, maybe you did think of that; but did you think of the ramifications? well, think about the dating game. most people like to date someone their own age (certainly not all, but most), and traditionally if the ages are different, the male is often older.
now take that idea and meld it with the fact that few people graduate college when they're 21. thus, pickins are (at least in theory) pretty slim for a college-graduate girl of approximately my age. this is not to say they don't exist or that you can't date college girls or someone older, just saying the standard superficial matching criteria are harder to match. even if you don't want to put the dating spin on it, just finding other dudes the same age and situation to hang out with is tricky.
lucky for me, as i've proven in the past, i show very little age descrimination with friends and significant others. but here's another thing we are very rarely subjected to at davidson: not only could that attractive person at the other end of the bar be in a relationship, they could be married! i had that mild awkwardness pop up on me for the first time last night--attractive young woman my age who i met casually at a local "young professionals" (which it turns out can mean up to 40 years old) networking event was rocking some of the most iced out (that means lots of diamonds, for the older set) rings i've ever seen.
from what little i've seen and heard of the women down here, i can presume that 90% of them are "fake" in one form or another--be it via surgery or personality. it's scary. granted, i'm very picky about that kind of thing, and i may misperceive "dumb" for "fake," though i often find the two to go hand in hand. i'm not trying to rage on girls, but i, like many guys, just don't see the appeal of many of the things women do.
anyway, those are my current thoughts and ramblings on girls. don't know why, just felt like writing it down. and that's what blogs are for. i promise the next one will be more interesting.

when poking turns to sheep throwing

2007-08-21T09:04:00.000-05:00

ah, facebook, the ever-creepier "social networking" website that allows you to connect with people you know or would like to know or are just kinda curious about. the fascination, nay, obsession began my sophomore year at davidson--people couldn't get enough of it. you could "friend" the people you were already friends with and see things about them that you probably already knew! and (omg) you could even "poke" them! if you did enough digging, you could even find out who was dating whom!
then they added high school facebook. pshh, those kids aren't nearly mature enough to use this high-level technology. luckily they kept us separate to, you know, avoid creepy college kids spying on the younglings.
then it was really strange that the new freshman class could "friend" each other before ever meeting, as long as they had their college e-mail address (and it was even stranger that my friend michelle, a junior-to-be, friended them all, too).
then there was the news feed scandal--putting a feed of all of friends' facebook updates took all the fun out of stalking! at a quick glance, you could see that tommy now likes the movie "anchorman" or that jill and billy broke up. what's the fun in that if you don't have to dig for the dirt?
then they opened up facebook to everyone. oh, man. in our davidson bubble, this meant that incoming freshmen could friend each other and join groups even before getting their college e-mail accounts (i wrote a response to this phenomenon for our school newspaper). i was even "friended" by my 31 yr old brother last week! weird.
the most recent obsession, which has pushed traffic away from myspace and into facebook, are facebook apps. facebook opened their api to developers who could create new applications of their own to help beef up the facebook experience. popular apps include iLike (lets you listen to and download music, plus see information on concerts--oh, and of course post everything on your profile), top friends (so you can rank your friends), and where i've been (a map of where you've been and where you want to go).
what do facebook apps add? quantifiably, nothing at this point. i threw a sheep at a friend the other day, and spanked another. is that that much cooler than poking? or couldn't i just write on her wall saying "i wanna throw a sheep at you" or something to that extent?
my biggest issue is that while the facebook demographic shifts older (it, like most social networks, is now largely made up of the 30-45ish demographci), the facebook apps seem to get more and more childish. there are a few more serious ones out there, but to have success as an application, you have to spread virally like crazy--and that ain't easy.
not to mention the fact that they've alienated the early adopters--many of my friends have stopped (or largely stopped) using facebook, and my roommate even declared last week "i hate mark zuckerberg."
so can facebook survive? my brother jed attended a facebook apps developers conference last weekend. here are his comments:
"Facebook was very interesting. I learned a ton, but I'm not convinced that there is a lot of value for older folks yet. What would be the "killer app" that gets all of us old farts to start using it regularly? Basically the platform is open for you to develop whatever you want and stick it inside the Facebook border frames. If you happen to advertise on your section/application, you get 100% of the revenue, which is a good deal. Or you can use your app to drive traffic to a different site and capture revenue there via ads or commerce. But the key is to think of something viral enough that people want to share it with their friends because that is essentially the only way to drive traffic to your app. Nothing in there currently (of 3,000+ apps already developed since the platform opened in May) seems like a particularly good example of something that would either make money or attract older users. Most of the popular apps are either juvenile ("tag, you're it") or related to showing how cool your low resolution pictures/videos are. Good for a certain (young) audience, but kindof a turnoff for older folks.

Included Nat on this email so he has a "heads up" that I will be quizzing him on Wednesday night about the usage of Facebook by his students and his colleagues. And as for you, Ty, do you think that your cohort will continue to use Facebook now that you're into the professional world? I understand that it's useful for "self-expression" and "street cred", but all the apps seem to be so light-weight. It's all about portraying yourself to the world and keeping tabs on your friends. Can you imagine people using Facebook for different reasons? Can you imaging a more complicated app (one that takes a while to learn about, for example) spreading virally the way a "poke" app does?"

so what do y'all think? are there bigger extensions for facebook? does it have lasting power? can a more complex app than a new way to poke people spread widely enough to survive? are there other possible uses for facebook's platform? i'd really love to hear, both because my brother and i are intrigued, and because we at click2remember haven't written off the possibility of developing a facebook app.

Davidson Golf in the news

2007-08-16T15:36:00.000-05:00

So first off, props to both Alex Knoll and Steve Mayo for being Academic All-Americans for the second year in a row (you're only eligible as a Junior or Senior).
Secondly, have a look at the latest Golf Digest--they give their rankings of the best College Golf Programs. How did Davidson do? Pretty darn well, by all accounts. We ranked 45th in "Golf First," 10th in "Balanced," and 8th in "Academics First." Need I mention we're ahead of all the Ivys in "Academics First?" We'll take it.

the housing debate

2007-08-11T01:10:00.000-05:00

I've spent the past week or so very actively seeking a place to live, other than my friend's old room in my boss's house. It's definitely a process. I'm at the awkward level of having never rented/leased before, not having much established credit, and really not making enough money to have a whole ton of choice in features of apartments. The main keys are: safe, cheap, and not with a totally insane roommate.
Here's the biggest issue: I've been royally spoiled with each of these my whole life. I've always lived on the safe east side of milwaukee; I've rarely had to pay for housing; aaaaand my roommate has always been awesome. The lone exception was last summer when I lived in the ghetto, paid $325/month, and lived with 2 cats.
At any rate, I've looked at options from near downtown to way out in the burbs; from alone, to with up to 4 roommates; from 10x10 no closet, no bathroom to a 900 sq ft loft with new appliances and everything. And what have I learned?

Near downtown does not always mean better than the burbs. This may be a TX phenomenon, but the burbs also have a number of communities of and options for the younger crowd. Plus, they're generally safer.
When you go to check a roommate situation, focus on the roommate, not the living space. Unless you're independently wealthy, you're not going to be spending enough time in your apartment to justify extra costs that would come from prioritizing living space over roommate situation. And if you are that rich, why would you take a roommate?
Costs add up quickly. A $500/mo rent in a 2br is MUCH cheaper than a $600/mo 1br. Not only are you splitting utilities and internet/cable costs (totalling ~$200/mo in this area), but you'll probably find many other cost saving features of sharing--be it food or whatever. Multiply all those seemingly small differences by 12 and that's your annual savings (wow, tough math, I know--but it seems like few folks my age bother to really think it out).
Location, location, location. Especially in Dallas, a few blocks can make a SIGNIFICANT difference. Between slum an $500,000 house, or between walking and driving to bars or whatever else you might need.

That being said, I'm still no expert. But I'm at least confident that whatever my decision is, I can live with it. Besides, as long as your safe and don't have any major catastrophes, it's really not that big a deal to live in a shitty apartment--as long as things work most of the time, you can be perfectly happy there most of the time. And most of the time is pretty okay with me.

I'm back!

2007-08-08T11:10:00.001-05:00

After a hiatus from the blogging world (I know, all of you feel starved of my attention), I've decided to make a triumphant return!
Here's a rundown of life since we last spoke:

I spent almost a month in Milwaukee hanging out with friends, going to Summerfest, and playing a bit of golf (played one tourney, made the cut, but would prefer not to talk about it). I got to spend some quality time with Jared, my roommate of 4 years at Davidson, and many other great friends, plus got to see some great music including Less Than Jake, Reel Big Fish, MC Supernatural, The Fold, and of course my friends in Scenes From A Movie, who crashed at my house once again.
I took a job as Product Manager with an internet startup from Dallas called Click2Remember, a web portal that allows users to download customizable schedules and events from the internet to their Outlook (other calendars in the works) with a simple click. The website should go public in the next couple days (the portal will be in private beta for a while--let me know if you want a beta license and we can work out details), but I'll let y'all know when that happens.
I saw even more great music down here in Dallas. I got to go on stage at the Warped Tour for Bad Religion (who have been favorites of mine for 10 years), saw other bands at Warped including Anberlin, Meg & Dia, The Spill Canvas, and Street Drum Corps...and of course Scenes From A Movie. I also saw The Format and Limbeck, who teamed up for an amazing show. On my birthday, my friend Britti and I saw Days Away and The Working Title, both of which jammed out very solidly, then a few days later got out our skanking shoes for Reel Big Fish.

Now I'm hard at work, looking for apartments, and trying to get settled into my new home of Dallas. I'm going through the classic issues of deciding whether to live in the city (where the social scene is) or in the burbs (where it's cheaper and closer to work). I'm also struggling to meet new people and make new friends, since as of yesterday I officially have Zero friends living in the Dallas area. It's definitely different from college, but I've been very good about keeping in close contact with my best friends from school, which makes life seem a little less lonely (hmm...sounds like a good name for an emo band..."A Little Less Lonely").

Check back often, or subscribe to an RSS feed or somesuch, as I'll likely be posting here far more often than I have been (I'll make the promise of at least once a week). And if you can't get enough of me, I'm also doing a little blogging about Click2Remember over at http://click2remember.blogspot.com.

Much love! Keep in touch!

Some good tunes

2007-06-07T15:08:00.000-05:00

Here are a few bands and tunes I brought back from my trip:

Oh Laura: http://www.myspace.com/laurasweden-- I was hooked by "Fine Line," but I also reccomend the live video they have on there
Sahara Hotnights: http://www.myspace.com/saharahotnights-- Pretty standard poppy stuff, but "Cheek to Cheek" is catchy as hell
Maximo Park: http://www.myspace.com/maximopark-- Okay, so these guys are Brits, but I still first heard them in Finland, so I count it..."Books From Boxes" is a helluva song (and unlike the other, is available on iTunes)

All good things must end...

2007-06-07T13:58:00.000-05:00

I think it's finally time to finish up the European portion of this blog. Our final day in Finland we spent around Helsinki. We first went to Saapi's office at the Finnish Medical Association, where they had a very impressive collection of paintings from many famous painters. We then got on the trolley and walked around the city square, saw the old church, and went through a few touristy shops (there were some very cute moose caricatures on various items).

We went to an open-air market down by the harbor, where my mom got cornered by a very fun fashion designer who worked almost exclusively in felt. After a brief fashion show by my mom (she decided she was too pale to buy any of the bright colors in the woman's wares), we moved on to a very old (though beautifully refurbished) cafe for some caffeine.

From there, we moved on to more Merrimekko fabric and clothing stores and Iitala glasswares. Then to Stockmans, the enormous department store. There, my dad was introduced to the price of high and mid fashion these days--he was mortified. Eija also was generous enough to buy me a graduation present of a copy of The Book about Moomin, Mymble, and little My--a sort of Finnish Dr. Seuss equivalent involving the Moomins (mystical, adorable hippo-looking characters).

After a quick bite in the Aalto Cafe of the Stockmans bookstore, we did a bit more wandering to the Helsinki equivalent of Times Square (it's nowhere near the size...not even close), the modern art museum (which Eija doesn't like because it was designed by a Brit), and another fabric shop (mom's got some sewing to do). Then back to the harbor to board our ship to Stockholm.

The cruise was pleasant again, though my mom had been struggling with some digestive issues and spent much of the time in our cabin. My dad and I hung out in the bar area (the cover-song-playing-dude-with-guitar was much better this time around) and talked a lot about education of all kinds.

We got to Stockholm at around 10am and boarded the bus to the central station. We got a locker for our bags and a couple bus passes for later. Then we walked. And walked. And walked.

We finally got down to the Museum of Modern Art, which was pretty awesome. Obviously it didn't have all the incredible works of the more famous museums, but they did have a very impressive collection of Picasso, Chagall, Warhol, and others you'd probably recognize. It was a lot of fun to see these works in person--something I haven't really had the chance to do before.

We grabbed a smoothie in the cafe, then went to the architecture part of the museum (which my mom and dad really loved, but didn't interest me at all--I like nice buildings and all, but I don't have the training to appreciate models of buildings).

Realizing that the smoothie wasn't going to hold us for lunch, we walked back towards downtown and stumbled upon the Taste of Stockholm Festival. Perfect! We had some pad thai (pretty tasteless, but we were hungry enough that it tasted delicious) and went on our way.

After lunch (and after seeing truckloads of recent graduates partying it up literally in the beds of huge trucks), we hit the National History Museum. We were excited to see the Scandanavian Design exhibit, which turned out to be good, but nothing too amazing. I think what I was most impressed with was the glasswork. Throughout the years, they've done some encredible engraving and some even more incredible work with colors. Then we went upstairs to see the 19th Century French artwork (mostly impressionist). After walking around that exhibit for a while (they had all the standards of Renoit, Monet, Degas, etc), we were struck by the incredible lack of color. Either old Scandanavian collectors couldn't afford the best works, or they abhorred the bright colors that were so characteristic of impressionsm.

We headed back to the central station via bus (thank goodness we saved those bus passes for late in the day), grabbed our belongings, and hopped on another bus towards the hotel (all of 6 blocks, but we had a free transfer within the hour, so we decided to use it). The hotel was a gorgeous and luxurious 4-star business hotel near the pedestrian shopping district.

Not long after we got back to the hotel (though long enough to rest our tired legs and feet), we headed back to the Taste of Stockholm. My parents went for some calamari and fries, while I went for some sort of curried chicken plate (when I came back to our seat on a bench and declared "I have no idea what I just ordered," the guy on the other side of the bench started chuckling). The weather turned very cold and windy and it was all we could do to huddle together and drink our Murphy's Stouts.

The next morning, we woke to a beautiful breakfast spread in the lobby, then headed to the station to catch the bus to the airport. Our plane was severely delayed (well over an hour) because of all the security checks that had to happen before the US would let it take off. We finally took off sometime after 11am, and got into Chicago around 12:40pm (short flight, right?). I think we've all handled our jet lag pretty well, but it was very nice to come home to Nat, Julie, Jed, and Sharon taking care of dinner for us.

It was a helluva trip, made me notice a lot more about my own life and culture, and I would absolutely go back in an instant--if only it wasn't so expensive.

Tallinn (the old city)

2007-06-04T13:56:00.000-05:00

First off, my apologies to everyone involved with my errors (spelling, ordering, etc). I had hoped not to butcher languages as badly as my dad made a habit of on the trip, but my own phonetic spelling habits apparently don't translate very well to Scandanavian languages and names. Sorry, and thanks to Eija and Vilma for the corrections!

Anyway, Tuesday evening we spent a bit more time in Jyvaskyla, including a great dinner and a trip to the natural history museum. The museum is located in the base of a watchtower overlooking the city and surrounding area (the Kujalas gave us a tour of the city from the viewing deck, which was a nice rest for our tourist legs).

We then hopped in the car and drove to Helsinki (about 2.5 hrs)--I'd tell you more about the car ride, but I slept through most of it. We got to the Kujala's apartment just in time to take advantage of their weekly sauna time (many apartments in Finland have their own sauna--I'm jealous). It was yet another different type, with a pretty large room without windows (it was in the basement) and an electric heat unit (and yes, you still pour water on the rocks on electric saunas, contrary to popular American belief). After sauna, we headed upstairs for a beer or long drink and an early bedtime.

The next morning, we woke up and readied ourselves for the cruise to Tallinn, Estonia. The forecast for Helsinki called for rain, but just clouds a 2 hr boatride south in Tallinn, so Eija insisted that we only bring one umbrella. We got on the boat (about the same size as our cruise ship from Stockholm to Helsinki) around 10:30am and found much of the boat already having cocktails (my parents and I opted for water).

When we got to Tallinn and got through the passport checks (all customs we ran into abroad are far far easier than in the US), we were greeted by our guide- a mid-30s woman who had lived in Tallinn her whole life and proved to be a lot of fun. We got in a van and drove off. The first area we drove through was a mix of old houses--some had been refurbished, others were well worn and showed their age.

Our first stop was at the palaces of Peter the Great and Catherine the Great (known as mini-Versaille). The buildings and surrounding gardens are beautiful and now serve as government buildings (I think one is the President's place).

From there we got back in the van and drove to the amphiteatre, where choruses of up to 30,000 can sing together on stage, and many more thousands can sit on the opposing hill and listen. Singing got Estonians through much of the Soviet occupation, and the tradition continues with a huge choral festival every 5 years (the next is in 2009). The amphitheatre grounds was the site for many moments of solidarity throughout and following the occupation.

As we drove to the Old City, we passed many apartment buildings clustered together--tiny, thin-walled apartments ("renovated" since soviet occupation, but still very sad looking) that provide housing for over a quarter of the city's residents (including our tour guide).

In the old city (where our bus left us), we saw a number of very old churches and parts of the city wall (2/3 of which is still standing, thanks to Tallinn's traditional policy of handing over the city's keys instead of fighting). Aaaaaand is started raining. Hard. We hurried down the path from the upper city (power) to the lower city (merchant wealth), bid adieu to our tour guide, and ducked into a cafe and a brewhaus for some lunch (beer). We debated what's at the end of the universe (Eija says sand, and challenges all to argue against her), then moved on to a couple more sights (yep, still pouring rain) before settling in to our incredible 4-course dinner at a french restaurant called The Egoist (a sign of its class: we were the only diners there until just before we left, when a high-powered exec entertained government officials in the hopes of setting up shop in Tallinn's ports).

From there, we headed back to the ship and headed back to Helsinki. Overall, Tallinn was striking both with its history and beautifully preserved buildings and roads, and depressing with its leftover misery from the Soviet era. It was the first time I had seen the effects of Communism up close and personal, and it was tragic--and it had a profound effect on the people: the guide joked "an introverted Estonian speaks to his own feet, an extroverted Estonian speaks to your feet." It seemed somehow appropriate that it rained there, though I am confident that they can rebuild in the long run.

a quick hello

2007-06-01T16:05:00.000-05:00

Happy 40th Anniversary of the release of Sgt. Pepper's Lonely Hearts Club Band! Is it as big a deal back home as it is here? Just thought I'd give a quick hello to let y'all know I'm still alive and kickin. I'm sitting in our very nice hotel lobby in Stockholm using my 15 minutes of courtesty internet time. We've been to Estonia, Helsinki, another ferry across the Baltic Sea, and most recently the Taste of Stockholm festival here in Stockholm. The weather is freezing cold (okay, 14 degress C, but I haven't felt that in NC since Feb) and we saw the first of the sun today that we've seen in a very very long time. Tomorrow morning we wake up around 7am local time in order to get back to O'Hare around 12:40 and up to Milwaukee by 4pm. Once I get there I'll be sure to give a full update on the last few days, but for now I'm being overwhelmed by smoke and need to go back to our 4-star hotel room (if I've learned anything this trip, it's that I'm supremely spoiled...even if I thought I was before).
Much love to all and I look forward to sharing pictures, memories, and more good times upon my return! Everyone in Milwaukee save a beer for me!

Just playin around

2007-05-29T05:49:00.001-05:00

Monday, feeling fresh from sauna the day before, we headed to Muurame to stay with the Kujalas now that the wedding festivities and stress have died down. We stopped to get some groceries (notes: unbelievable selections of fish and cheeses, the supermarket is part of a departments store, and gatorade is hard to come by), then headed to their house.

After unloading and unpacking, we drove 10 minutes to Muurame golf course. I played with some family friends (I think) of the Kujalas in the pouring rain (borrowing clubs from Eija's godson, a local pro). The course had just opened for the year 2 weeks ago, so was still a bit rough around the edges, but the setting was unbelievable. Everywhere you looked, there was nothing but hills and trees.

The course itself was short compared to what I'm used to, but very very narrow with pretty small greens. We wound our way all the way up a huge hill, then descended rapidly on the 16th hole. It was almost a completely different game for me, playing with borrowed clubs on a very different layout measured in meters in the pouring rain. But I made a bunch of pars (missed easy birdie putts on the two finishing holes) and got home with my dignity.

We sauna-ed again last night here at the Kujala's house (they have a beautiful new electric sauna and a little kids swimming pool outside for the cold water part), then got up this morning and headed to the gym. Not a whole lot to report there, except that there were no water fountains to drink from (so I've been chugging since I got back here).

Tonight we head to Helsinki, then tomorrow we take the ferry 2 hrs to Estonia, driving a bit then to the old city of Tallina. We ferry back that night, then spend the next day in Helsinki until our ferry back to Stockholm that night. We have another day and night in Stockholm, then board our SAS flight (thankfully the strikes have ended) back to the US, arriving home on June 2nd. I make no guarantees as to whether or not I will have internet again, as I had not found it anywhere other than here previously, but if I do I will be sure to tell the world more of our travels.

lost in translation

2007-05-29T05:39:00.000-05:00

In an effort to make the blog shorter and easier to read, here are a few mildly humorous snippits of language use and misuse:

At the wedding, Nana was drinking a lot of water. My mom, trying her hardest to learn and use Finnish, said "Vessa! Vessa!" thinking she was saying water. Nana replied, "Why do you keep saying 'toilet'?" Oops! The word Mom was actually looking for was "vessi."
One of the big buildings on the outskirts of Helsinki has in very big letters "FAG"
One of the big supermarket chains here is "KKK."
One of the things you can buy at that supermarket is a brand of chips called "Megapussi"

mmmmm sauna...

2007-05-28T12:58:00.001-05:00

So once I finally got up and moving Sunday (up a bit before 1, moving towards 2:30, out of the hotel closer to 3 or 3:30), we were picked up by Saapi and taken to Tuukka's family's summer house and sauna, about 35 minutes outside Jyväskylä. Their house is next to their cousins' house (the twins I sat next to at dinner) and another local friend's. In all cases, the houses were built by hand by the grandfathers in the early 20th century.

Everything about the places is very traditional Finnish, though they do have the aid of modern electricity (though still no running water and one still uses a wood-burning stove). The rugs in the houses are all traditional rag rugs--woven out of discarded and worn out clothing torn into strips. All the decor is traditional and has been there forever. As they have added family members, they have built new small buildings around the main houses. They spend much of their time on their summer weekends at these houses doing repairs and building new things (the big project this year is to level the sauna, which has begun to tilt towards the water).

There is a true sense of tradition and family about the group of summer houses and saunas that is unmatched in the US. I am forever grateful that the families were so welcoming of us into their community and traditions.

After our tours of the houses and different kinds of saunas, we went back to Tuukka's family's house for many leftovers from the wedding (the soup was again a favorite). We ate and drank until it was time for sauna (ladies first).

The sauna gets up to over 100 degrees celcius (really freakin hot). The sauna we went in involved a wood-burning stove beneath the rocks on top. You heat the sauna for 3 hours (depending on the type of sauna), then strip and go in. In the sauna, you pour water on the rocks to create humidity and make the body sweat, purging you of all dirt both inside and outside of your body. In the traditional sauna, they also have a bundle of birch branches and leaves that you thwap yourself and each other with to get the circulation flowing even more. They say that in the sauna, without clothes on and subject to grueling heat, everyone is equal.

After a few minutes in the sauna, and a few spoonfulls of water on the rocks, you run down to the lake (very cold at 14 degrees) and jump in. If you were to hit the water without the sauna, it would be unbearably cold; however, with the sauna, the cold feels incredibly refreshing and makes your blood really pump. After a quick dip (before you come to your sense about how freaking cold the water is), you head back to the porch of the sauna to dry off and have a cold (ideally, though most here is warm) beer. Rinse and repeat as desired (up to 5 or so times at the lake).

The feeling you experience after you come out of the lake is ubelievable. It is the single biggest high I have ever experienced. You feel refreshed, clean, and you've completely forgotten about all your worries in the world. The beer feels like ice running through your veins, and the world around you is beautiful. You go from the hottest heat of hell to the cold of the polar icecaps in a matter of seconds, and your body feels as satisfied as if it had just experienced every sensation there is in life.

After we journeyed from sauna to lake and back 3 times, we went back to the house to enjoy homemade Finnish desserts (Finnish pancake with jelly, chocolate cake, lemon cake, and gingerbread and cheeses). After that, I sat motionless in a hanging chair for quite a while, content with everything in life and enjoying the melody of my own thoughts.

After a bit of time, we had some sausages and mustard (very different from Milwaukee style, though) and hit the road. I mentioned it before, but I can't help but repeat how overwhelmed I was at the priorities of the Finns: family, friends, and tradition before all else. In conversation at the wedding, despite not knowing me, few ran out of topics enough to ask me my age or profession. To them, the more important things in who I am are where I'm from and what I like. To me, that's beautiful.

My new goals in life are to emulate those priorities....and own a sauna retreat on a lake.

A real Finnish wedding!

2007-05-28T12:58:00.000-05:00

Now comes the fun part. We slept in quite a bit, got an expensive (about €7 apiece) breakfast of coffee or smoothie and croissant at a local starbucks equivalent (though they serve beer and cider, which many were enjoying on a cool Saturday morning), and got ready for the big wedding.

Much like the preparation, the wedding ceremony itself was relatively casual and short by American standards, though it was in a beautiful old church in the very center of the city. The ceremony was similar to a basic American wedding (just enough to be classy without any overkill on religiosity and hymns and prayer and such), though Uuso (guitar) and Rasmus (snare) were kind enough to help play the recessional. The married couple made their getaway in an old green Fiat (similar to a VW Beatle) and the rest of us boarded the busses to the reception.

The reception was at a beautiful old farmstead (though I suppose there was far far more woodland than farmland) about 20 minutes outside downtown (which means way out in the country). We were first invited into a very old, historic wood building to drop off presents, greet the newlyweds and families, and make a traditional toast with sparkling red wine.

Then, at about 3pm, we were ushered into a slightly newer, but similarly designed building about 50m away for dinner. We started with some delicious black root soup with croutons, then moved onto a buffet of pasta salad, potatoes, smoked salmon, and roasted and smoked moose (which Tuukka's father had killed and prepared). I have to admit, I was very surprised to find that I loved smoked moose! After some time and plenty of wine at our tables, we enjoyed some wedding cheesecake and coffee with either Bailey's or cognac. I was seated at a table with Wilma, Uuso, Tuukka's twin cousins (5 weeks older than Tuukka), all their significant others, and Tuukka's French friend JB. They all were very good at translating for me and teaching me what to expect from Finnish weddings: people get very drunk, dance a lot, and become more and more willing and excited to speaking English with you. Man, were they ever right.

We went back and forth between the two houses over the next few hours for various games and traditions (having games is a tradition, though the specific games are up to the bridesmaids). The games included the bride and groom picking out which pile of random objects the other one bought them at a flea market. The traditions included a long speech from the father of the bride, which Tuukka's father decided to follow with his own speech about Tuukka. Oh, and did I mention all activities involved more eating and more drinking?

After some slideshows and mingling and such, the night turned into drinking and dancing in the older house, with music provided by Uuso, Rasmus, and some of their friends. It was fun to watch my parents relive their younger years, cutting a rug to The Beatles and many other favorites from their hayday (perhaps helped by my mom's insistance that it was impossible for her to to get drunk off Finnish beer, and subsequent efforts at it).

After a few drinks, though, I couldn't believe the friendliness of the Finns. Countless people would just come up to me, introduce themselves, and start talking about whatever it is they felt like talking about. I was blown away by the friendliness, and their English abilities! I met a former World Cup skiier, an advertising executive, a former head of the last surviving Finnish shipping company, and a marketing executive for a software company (among many many others). Saaku (Nana's husband) was even so kind to lift me up on his shoulders (beer in hand) so I could get a clear view of the traditional first dance--a Finnish waltz. They were all so happy and amazed that we made the trip all the way from America to Jyväskylä. I was just happy and amazed at their abilities and friendliness!

After the wedding (the busses left at around 1am), dozens of friends I had just made (mostly in their late 20s and 30s) insisted that I come to the club with them. Oh, did I mention it's okay to have open containers in vehicles over here, as long as it's not the driver drinking? Anyway, I sent my parents to bed (though they said they struggled to sleep thinking about what I was getting myself into in this foreign land) and hit the club. Juha (the advertiser) brought me in, bought me a shot and a beer, and gave me the tour of the place (introducing me to as many girls as he could as "coming all the way from America").

The club had four areas (far bigger than any bar I had ever been to): a main bar by the front door, a euro-pop/rock dance club, a "suomi-pop" (Finnish pop) bar area, and a discoteque (with both european and american classics and current pop) upstairs. After the tour, we wound up spending most of our time upstairs, and after a couple more drinks I wowed a few of the fellow wedding-goers with my American white-boy moves (you've never seen a more intense rendition of "YMCA"). Among others, I met the back-up goalie for the Finnish national hockey team (who had just won silver at the World Cup) and a Spanish girl with her upper-gum pierced.

Rasmus (who I hadn't seen much at all, but who is nearly my age) apparently had some drinks and then told a friend (or maybe Uuso) "Okay, now I am ready to use my English." He found me in the upstairs club and we hung out for quite a while. His English was incredible, especially since, as he said, he's never had a chance to use it (except a very little at my brother Jed's wedding). He's a very very cool and nice guy, a drummer in the Finnish army at the moment, and insisted that he show me a real Finnish time (this was after 2:30am). We went back to the front bar area (a little quieter) where he bought me a Jaeggermeister shot and a "long drink" (a delicious sort of grapefruity drink), the combination of which he insisted was most Finnish.

When the club closed at 4am, we went with his bassist to a friend's nearby apartment to hang out more and have a bit of a snack (which I didn't need or want, but Rasmus insisted "you must eat like a Finn!"). We finally left around 4:45, making it back to my hotel around 5am, sun fully shining. I have to say, it was one of the most enjoyable days and nights of my life, even though I couldn't understand 98% of the words I heard throughout the day. The Finns are so friendly people, and strikingly similar to Milwaukeeans (perhaps why Finns that move the US tend to congregate around the Great Lakes).

The boat and first day of Finland

2007-05-28T10:40:00.000-05:00

We got on a cruise ship Thursday night from Stockholm to Helsinki. I can't begin to estimate how many people were on the boat, but the boat was 11 stories. My parents were generous enough to get a first class cabin in my honor, which meant that we had a window and our own bathroom, though the room itself was as small as you would expect on a cruise ship (with fold-down bunk beds and the works).

Shortly after boarding, we ate a nice buffet dinner (a perennial highlight for many travelers) with as much Finnish beer and wine as you can drink. We had a table near the front window of the boat and had a nice view of the thousands of islands in the Sweedish archipellago. Sweedes generally own a summer home on one of the many islands, and enjoy a simpler life (with lots of fish) in the warmer months. I was astounded at how many islands there were, and there were houses on each of them til the very end (which we did not reach til it was dark--at around 10pm).

After dinner, we sat on the top level of the boat and took in the scenery until it got very cold and windy and we got kicked inside. We were nearly alone on the top deck, as the cruise (as we later learned) is often used by the Sweedes and Finns as an excuse to buy alcohol from the tax-free shop and get drunk. We reset our clocks to Helsinki time (an hour ahead), grabbed a drink at the bar, and went to bed around midnight by our new time (still jetlagged) as the boat was pulling away from its only stop--an island, whose name escapes me at the moment, which is technically Finnish territory, but is rather independent and has many of its own laws.

I slept very soundly to the purr and rumble of the motors (though I had never had the sensation of a shaking bed previously), and my parents suffered yet another nearly sleepless night. We awoke to a delicious breakfast buffet before pulling into Helsinki around 8am. Saapi, our host along with his wife Eija, picked us up and drove us to Muurame (the 9,000 person town of which his is mayor, among many other responsibilities--though he and Eija have spent much of their lives as doctors).

Finland, like Sweeden, is built largely on rock. However, unlike the part of Sweeden I saw, Finland has 40,000 lakes and millions of birch and evergreen trees (an integral part of their biggest industry: paper). The whole country has 5 million people (about the same as Wisconsin) and Helsinki (the biggest city) is smaller than Stockholm. The country is officially bilengual (Finnish and Sweedish--not nearly as similar as you might think; Sweedish is far more western) and everyone learns a third language (usually English, sometimes German or Spanish) and spends a semester abroad--quite impressive, no? The countryside is very beautiful, but it makes for a rather monotonous 3 hr drive from Helsinki to Muurame (and while Saapi is incredibly nice and smart and tried his best to make it better, English is his 5th language which makes normal conversation understandably difficult sometimes).

We got a quick tour of the Kujala's recently renovated house (in Finnish style, they pack an incredible amount of space into a house that would be small by American standards--the key is being very organized and having great designs of storage spaces), then were shuttled to our hotel in the nearby city of Jyväskylä (pronounced: yu-vas-kay-la)--population 90,000. The rooms were again small by American standards, but very very nice and comfortable (hardwood everywhere and an Indian theme in the decor).

As we walked around town to find some lunch, I was a bit surprised by the differences between Finland and Sweeden, especially the people, having come with the assumption that they were rather similar. In style, instead of the chic European fashions of Stockholm, most teens were dressed in goth-punk black outfits. In manor, Finns are far more reserved and seemed to keep to themselves when possible. Once you begin a coversation with Finns, however, they are infinitely nice and speak very good English (though they hate to admit it--they are born perfectionists).

We exchanged some dollars for euros (yay! i have a € key!), grabbed a mozarella sandwich at a cafe, and did some more wandering around the city before heading back to the hotel. I grabbed a nap (which my parents had trouble waking me up from--I apparently didn't respond to door knocks or phone calls) and we again got picked up by Saapi and taken back to his house for dinner and a pre-wedding meeting.

Now for the fun part: names. Eija and Saapi have six children; from oldest to youngest they are (and I will undoubtedly butcher the spellings): Uuso, Nana, Sanra, Wilma, Mina, and Rasmus (oldest and youngest are male, middle are all female). Uuso, Nana, and Sanra are all married and with children (Nana has her 3rd on the way), Wilma's boyfriend's family owns a bookstore in another part of Finland, Rasmus and his girlfriend live in Jyväskylä, and Mina's wedding to Tuukaa (an extreme skiier) is a main reason behind our trip.

Right, so...we went to the Kujala's for a dinner of Finnish pizza (similar look to ours, but different toppings...very delicious) and some chatting. Unlike American weddings, the night before Finnish weddings is inconsequential. In fact, this meeting was very unusual, even though it was a very informal runthrough of the timing and responsibilities of the next day (Eija was kind enough to translate the occasional word to keep us on topic: church, rice, dancing, sausages).

After the meeting, Wilma and her boyfriend drove us back to our hotel and related information about how Finnish tv was largely American TV, but 2 years late with subtitles (throughout my time, many have quoted episodes of Friends, Seinfeld, and The Simpsons). We also discussed how Finland can produce 60 NHLers (plus many world class javeliners, skiiers, and rally racers), while similarly sized Wisconsin has 2 or 3. Pretty incredible stuff.

We had our complimentary welcome drink, a Finnish beer of sorts, in the hotel lounge and watched the sun get close to setting around 11pm (it gets dark between 1am and 2am...then gets light again). Then to bed for the wedding the next day...

Travel and Stockholm

2007-05-28T09:46:00.000-05:00

WOW! First of all, my apologies for not blogging nearly as much as I had promised. The only time I have found internet access was on a cruise ship between Stockholm and Helsinki and I could only afford 4.5 minutes of dial-up speed internet (enough to check e-mail, but not blog).

Anyway, I have quite a lot to talk about and will separate it out over multiple blogs. First, the travel. We left Chicago at 4:25 on Tuesday, as planned, flying SAS to Stockholm. Being a Sweedish airline, they gave the announcements primarily in Sweedish, though repeated everything in English. The flight attendants and other travelers started speaking English if they didn't know which language you spoke, then changed if they found out you spoke Sweedish. However a trend that began on the plane and has continued throughout my journey is for everyone to speak Sweedish (or more recently Finnish) to me, thinking that I am a native. I sort of got the same treatment in Germany, though I was much younger and generally around family, so maybe I am more European than I realize!

Anyway, the movies on board sucked (I watched Hoodwinked and some unnecessarily long Matt Damon flick about the CIA) so I tried to sleep some, but to no avail. I had forgotten to bring headphone on board, so I bought some very nice (though cheap compared to competitors) noise-cancelling phones in the Charlotte airport--a very VERY good purchase for reducing stress on ears and thus tiredness and headaches that tend to come with plane rides.

After flying over the longest part of Canada's northeast and through the Arctic circle, we arrived in Stockholm early in the morning. We grabbed our bags, changed some money (Sweeden is not EU, so 7 of their currency is about one dollar (and there is no dollar sign on this Finnish keyboard)), and made the 30 minute busride to downtown, past the site of the European Masters golf tournament among other things.

The first thing I noticed about Stockholm (other than the overwhelmingly gorgeous women) is the mixed-use buildings, with lots of retail and many companies sharing the other floors (all adorned with huge logos on the outside of the buildings). We got downtown to the bus/train station, got our 24hr passes (good for both bus and train), grabbed a banana, and hit the train north to our hotel. The train system (and bus system) is incredibly efficient, with many lines running all over town, and you never have to wait more than 8 minutes to catch a particular train. The terminals are generally clean, as far as subways go, and the people are friendly, though not everyone uses their English readily.

Our hotel was very nice, though very very small by US standards. We had 3 small beds and a small TV and not much room for anything else, and a bathroom where you're nearly sitting on the toilet when you shower. The people working there spoke very good English and were helpful whenever we needed them (they even let us keep our bags there before they were ready to check us in and after we had checked out so we wouldn't have to lug them around town).

We spent much of the day in a historic district towards the south side of town--a very touristy area, but beautiful all the same. After taking a self-guided walking tour that I was too tired and jet-lagged to remember much of (I remember the buildings were very pretty), we ate lunch at a Sweedish-Italian retaurant. It was a nice, classy place and I ate some good, homemade ravioli in tomato basil pesto sauce, but I was also struck by the fact that Pearl Jam was the mood music. The thing to do in Sweeden is to go out to lunch (most places have specials for 60-80 kr (their currency)) and get food from the grocery store for dinner, as prices in restaurants increase significantly.

We sat by the river for a bit after lunch before doing a bit more walking around the district. On our way back to the train, we saw some sort of shtick (presumably for a Sweedish Jackass-type show) being performed that involed a man in a gorrilla suit carrying a shouting man in an animal cage. I'm sure it would have been more amusing if I had a clue what they were saying.

We got back to the main station, grabbed a coke and coffee (we were really hurting from jet lag and no sleep) and set off again in hopes of finding our second (or fifth) winds. We grabbed a bus towards the big garden in town and drove past lots of waterfront and museums. Once we got there, we turned around and immediately headed back a few stops to the shopping district. If you're unfamiliar with the stereotypes, Sweedes care a lot about appearances and wear very expensive designer clothes. Yep, that's for sure. As much as I wish I could pull off a European-cut (very tight) suit and tight jeans, there's no way I could afford them. To make matters worse, every pair of underwear in the mens section is either briefs or boxer-briefs. Apparently, they like it tight.

We headed back towards the hotel from the shopping district, picked up some cheese and crackers from the store for dinner (a simple salad for one costs 70 kr, or about 10 dollars--we think Sweedes stay so thin by charging so much for small portions of food), and sat in our room eating and trying like hell to stay up til 10 as we had been told to do to minimize jet lag. I crashed out around 8, I think, and slept clear to 9ish the next morning. We had a nice breakfast in the hotel and headed out.

As our 24 hr passes had expired by the time we left the hotel, we decided to walk around near our hotel. Stockholm is about the same size as Milwaukee (though with more tourists), so it's not unfathomable to walk everywhere. We discovered that we were closer than we realized to one end of the shopping district (where the few cars that drive on the roads give the absolute right of way to pedestrians in the street). We stopped in a few stores along our way, but found ourselves near the University.

We climbed the biggest hill to the observatory and looked out over the city (I have some nice pictures, but also managed to forget my camera's transfer cord). It was so unbelievably beautiful and pleasant that we sat there for nearly an hour. We noticed that the young women there took very good care of their babies, and it was definitely very trendy to be seen in public with a stroller--a good thing since the Scandanavian countries are well below zero population growth and need desperately to produce more children.

On our way back to pick up our bags from the hotel, we stopped for lunch at a great local sandwich/coffee shop. Going to a place like that which was not touristy at all meant the people working there didn't speak very good English, so we had to do some stupid-American pointing to order. On a whole, though, I am very impressed at nearly everyone's ability to at least get along fine in English. And while they are very courteous and kind, it makes me feel like a very stupid American not to speak their language. I am now reminded of another huge difference-- you have to pay 5 kr to use the bathroom (or water closet as it is called everywhere here) in all public areas and in any place you are not paying to eat or drink.

After lunch, we headed back to the hotel, grabbed our bags, hit the subway to the station, then the bus to the dock where we got to our cruise ship...

We're not in Davidson anymore...

2007-05-22T12:58:00.000-05:00

As I sit in the international terminal at O'Hare (yes, my passport came in about an hour ago...thank God), I can't think of any more drastic a change from Davidson than this terminal. Sure, we have (some) diversity at Davidson, but nowhere near the diversity here. I can't count the different languages I've heard in 2 short hours on my fingers. Then there's the fashion--from nordic drab to Japanese uber-hip and everything in between.

Just as immediate of a departure from Davidson as the diversity is the security. All the airport security in the world can't make me feel as safe as I did in that bubble, surrounded merely by good people who rely merely on each others' word to know that they are safe from theft, lying, and cheating. If I were to get up to get a bite of food or go to the bathroom in even the most public of places at Davidson (ie-Union, Baker, Library), I would absolutely feel secure leaving my bookbag, laptop, or even my wallet lying around. Here, I probably won't leave my seat for hours because I don't want to lug my 50 lb bag around.

Another difference is people's intentions. At Davidson we look out for each other, lending a helping hand to strangers and friends alike without expecting anything in return. Here people are cold and frigid to each other, as if suspecting each other of being dangerous. I admit, I was blindsided by a man who asked me where I was going as I wandered around the baggage claim area looking for signs to the international terminal. He told me I wanted Terminal 5, and to put my bag on his cart and he'd take me there. I did, and he did, and in my own ignorance (I'm not stupid, just too used to Davidson), I offered him what I would at Davidson for his troubles: a genuine "Thank you" and a firm handshake. This was not acceptable. He demanded payment, which I, startled, gave him.

I wish people would share more in this world: ideas, information, services, support, whatever you have to offer that someone else might need. I know that this is an impossible goal, as people are naturally ultimately self-interested, but I believe the more we share, the better the world we live in will get.

On a related note, though not necessarily relevant to my trip to Finland, what do people think about the RIAA going after the radio stations for royalties? In my mind there are 3 ways this can go: 1) Radio stations are forced to pay up, making even the top independent radio stations suffer immensely without the operating budget and national support of ClearChannel; 2) The plan backfires and radio stations start getting their music from non-RIAA labels, boosting sales of independent music through the roof and essentially hitting "restart" on the music industry; 3) ClearChannel pays, independent stations find other music, and ClearChannel is forced out of business (my favorite, but clearly the least likely). At any rate, I think the RIAA is again being unnecessarily desperate for funds in an industry that just happens to be sprawling away from major labels. But maybe that's just me...what do you think? (Pssst-that's a hint to comment)

The anticipation is killing me...

2007-05-21T14:10:00.000-05:00

Welcome one and all to my new blog about (at least initially) my post-graduation trip to Finland, Sweeden, and Estonia. I graduated from Davidson College yesterday, and tomorrow (hopefully) I leave for Europe with my parents. We are visiting my mom's former foreign exchange student from her high school years and her family, both for vacation and to attend the youngest daughter's wedding.
As it stands, it is currently about 24 hours before the last check-in time for my flight from Chicago to Stockholm and I am sitting outside a friend's house in Davidson, NC without a passport. Problem? I think so. I had applied 3 months ago (thank you President Bush for increasing security measures but decreasing funding for passport services) and have called many times to help expedite the process and have received promises that they would bump me to the top of the list and overnight it to me, only to call back the next day and find no such thing happened, nor can they give me more information (damn you, Patriot Act).
So it looks like I might have to change my flight to Chicago to tonight, find a place to crash, and get to the passport services office in Chicago at the crack of dawn in the hopes that they will, for whatever fee it takes, process my application and get me a passport in time to catch a train to O'Hare and check in by 3:30. FUN!
If that doesn't work, this blog will promptly shift topics, as I will be sitting on my butt in Milwaukee (as a transfer of international tickets costs as much as we paid for our tickets, not to mention I'd miss the boat from Stockholm to Helsinki and have to purchase another not-cheap ticket).
Let us hope and pray that my passport comes in the mail today or tomorrow, or that the folks at passport services are more helpful in person...