Sunday Shards: (4.23.2006)

In the reading queue this week…

*Why we hate self-published authors (via the Powells.com blog).

*Sarcastic take on what it takes to be an artist in NYC (via Butts in Seats).

*Depressing but probably true assesment of publishing in the UK (via Buzz, Balls & Hype).

*Salon’s Audiofile now has a podcast (via Large Hearted Boy).

*A look at the 5 year history of Netflix envelopes (via Signal v. Noise).

*A tribute to the departed Lingua Franca magazine (via Arts Journal).

*The San Francisco International Film Festival has begun!

*It’s my brother’s 30 birthday this week. Happy Birthday Matt!

Not something I hear everyday…

So I’m at my friend Min Jung’s birthday last night at this bar and I look around and geeks have just consumed the joint. Literally everywhere you look, someone has just come from a venture capital meeting, sold something (perhaps even a kidney) to Yahoo and, as I did, feels completely in their element yelling insults based on tag clouding.

Oh and there’s karaoke. My “where’s the party” friend Glenda belting out “I Feel For You” did not surprise me. Nor did my kareoke hero Ernie knocking “Don’t Stop Believin'” out of the park. But please tell me someone has pictures of his duet partner, the unassuming, quietly-taking-over-the-world Andy Baio, hitting the high notes?

And then it was my turn. I have trouble being near a singin’ machine and not wanting to do my one and only song U2’s “With or Without You.” I’ve embarassed myself with it before. A lot.

So I do my thing. Glenda joins in. I sing every other line because its safer than harmonizing (harma-what now?). When I finish, I slink away. I run into my friend Lucia who remarks…

“That just made my night.”

I think it’s time to take those singing lessons I’ve been talking about. One of my life’s ambitiions is to be a decent karaoke singer. Maybe I’m on my way.

San Francisco International Film Festival: Day 1

Today is the opening of the San Francisco International Film Festival. I wasn’t feeling well so I stayed home and missed the opening night festivities which makes me kinda sad.

In previous years, I’ve just seen movies at Festival and not many at that. But this year I’m not just an excited attendee but an employee. Well, a “consultant” which is 2006 for “employee.”

I’ve been hired by the Festival to create and manage a “Citizen Media Press Corps” or in English, to find a group of Bay Area bloggers/podcasters/photobloggers/videobloggers and give them press accreditation to cover the festival. As one of our members, Eddie Codel, put it “full media access for bloggers, hells yeah!’.

Eddie’s one of a stellar list of citizen media makers (20 to be exact) that’ll be providing commentary and analysis on the over 200 films at this year’s Festival. I’ll be linking to each of them as the Festival rolls on.

Nearly all screenings are open to the public although the ticketing policy does require some time to figure out. Take it though. Looks like a great crop this year.

I’m laying low tonight after throwing up my dinner but hopefully I’ll be back in the game come this weekend. There are 22 documentaries out there, each with some rendition of my name on them.

The Subscription Model:

My friend Heath Row recently outlined a subscription model for books. The Book of the Month Club still exists I think and is an example of this as is McSweeney’s Book Release Club and Re/Search Publications’ system where you lay down a chunk of money and they send you books until your “tab” runs out. if you’re still into it then, you re-up.

Business models like this work on a couple of conditions. 1) The publisher most roll books out slowly enough so the reader doesn’t become overwhelmed and 2) The publisher have a strong brand since the system is all about trusting what they’re sending you. It’s why The Subscribtion Model works so well in the music world where you can atomize content (a song instead of a whole album) and build a recognizable brand through careful selection (nobody expects to get their polka fill from SubPop).

Sadly, large publishers are terrible at both of these. They have to roll out books quickly to recuperate the advance they’ve already paid the author. Editorial judgement is diffuse, spread across several imprints and staff members, each with their own tastes. “Branding” to many old timers is a still a dirty word, smacking of advertising so it barely exists. Knopf and Vintage paperback might sorta mean “quality” but just what are you getting when you buy a book published by Harper Collins?

Smaller houses have the upper hand here just like, in the age of mass customization and individual delivery of culture, smaller producers are simply more fleetfooted and able to create an identity quicker. They wont have the reach of the giants but perhaps they don’t need or want it.

If I were a betting man or a billionaire (I am neither), I would guess that, within a decade, two things will happen. We will see a mini-conglomerate of independent content providers acting in loose confederation to share advertising dollars (John Battelle’s Federated Media in the online space for example) but remain autonomous editorially (will they acknowledge federation membership? Not sure yet). Second, a wave of high-end media customization services will come along, a Platinum Membership book/music/movie club if you will. In platinumland, you’ll pay a high fee not just for media customized to your taste but a personal relationship with your media curator. Like a personal trainer, he/she will have an individual relationship withb you and your tastes and make suggestions accordingly.

With the glut of culture offered to us everyday, services that allow us to turn off the noise and focus(Tivos, rss, podcasts) are both where we’re at and where we are headed. The challenge will be how to break in on an audiences already predefined menu of choices and how to catch them when they are looking for new media and culture. I hope, as cultural producers, we’re ready for this brave new world, because we just woke up in it.