Here’s an interesting infographic that gives an idea of the extent of renewable energy use in the U.S., future projections of the energy mix, and some other useful information — click on the image to examine it in full size:
AB — 14 July 2011
According to Rolling Stone, here’s where Howlin’ Wolf’s song “Smokestack Lightnin'” got its name:
The inspiration, said Wolf, was watching trains cut through the night: “We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning.”
Here’s a video of Wolf himself doing the song, along with a little howlin’:
AB — 22 June 2011
Most printable bookmarks you find online are pretty cheesy, but this one from Disney is based on some nicely-done artwork.
It’s a bit of a crafts project — took me about a half-hour to do it, as you have to print it and cut it out, and there are two pieces with some gluing and folding to be done. It’s created with kind of a black-humor theme — one piece slides in and out of the other to reveal what happens to the characters.
Here’s what it looks like. Click on the image, and that will take you to a PDF. You should download the PDF and print it out on paper or cardstock — be sure to print in landscape mode so it comes out in full size:
AB — 17 June 2011
Great infographic from PhDComics — explains why so many people believe so much crazy stuff:
AB — 2 Nov. 2010
The announcement of the winner of the National Hollerin’ Contest held over the past weekend in Spivey’s Corner, North Carolina, USA, reminded me of this time-honored southern tradition. I first became aware of it when a rock festival I attended about 40 years ago included a marvelous performance by the winner of the contest, who hollered a fantastic version of “Old Time Religion.”
This year, Tony Peacock of Siler City, NC, won the contest with a rendition of Gershwin’s “Summertime,” hollered in just under four minutes. See the announcement today in the News & Observer: “N.C. hollerer wins with ‘Summertime.'”
There are some things that can happen only in North Carolina, and this is one of them. (Other examples are Benson’s Mule Days, the town of Lizard Lick, and the correct understanding of what constitutes barbecue — but we can discuss those another day.)
It’s a crime that there is no video of Peacock’s performance on YouTube, but this video from a few years ago has some nice examples of hollerin’, ending with a version of “Amazing Grace”:
In this video, the hollerer does a little lecturing about the practice:
AB — 22 June 2010
Not only has the music group the Grateful Dead created a musical and cultural phenomenon, but as a very successful business, they make a good case study in management.
Green’s article is inspired by the recent announcement that the members of the Grateful Dead would be donating their archives to the University of California at Santa Cruz. UCSC will be using the archives to create extensive publicly-available resources. The institution is currently processing the materials, but you can read about their progress at The Grateful Dead Archive. Initial materials from the archive are on exhibit now through July 4, 2010, at the New-York Historical Society — see “Grateful Dead: Now Playing at the New-York Historical Society.”
Green reviews the curious and controversial history of academic scholarship focused on the Grateful Dead but highlights an interesting truth of the Dead’s story — they were and are a very successful business, and much of that is due to their enlightened focus on providing customer value. Green writes that,
Without intending to—while intending, in fact, to do just the opposite—the band pioneered ideas and practices that were subsequently embraced by corporate America. One was to focus intensely on its most loyal fans. It established a telephone hotline to alert them to its touring schedule ahead of any public announcement, reserved for them some of the best seats in the house, and capped the price of tickets, which the band distributed through its own mail-order house. If you lived in New York and wanted to see a show in Seattle, you didn’t have to travel there to get tickets—and you could get really good tickets, without even camping out. “The Dead were masters of creating and delivering superior customer value,” Barry Barnes, a business professor at the H. Wayne Huizenga School of Business and Entrepreneurship at Nova Southeastern University, in Florida, told me….
As Barnes and other scholars note, the musicians who constituted the Dead were anything but naive about their business. They incorporated early on, and established a board of directors (with a rotating CEO position) consisting of the band, road crew, and other members of the Dead organization. They founded a profitable merchandising division and, peace and love notwithstanding, did not hesitate to sue those who violated their copyrights. But they weren’t greedy, and they adapted well. They famously permitted fans to tape their shows, ceding a major revenue source in potential record sales. According to Barnes, the decision was not entirely selfless: it reflected a shrewd assessment that tape sharing would widen their audience, a ban would be unenforceable, and anyone inclined to tape a show would probably spend money elsewhere, such as on merchandise or tickets. The Dead became one of the most profitable bands of all time.
In the early days of Internet marketing, I remember reading the article by Dead songwriter John Perry Barlow, in Wired magazine of March 1994, “The Economy of Ideas: A framework for patents and copyrights in the Digital Age. (Everything you know about intellectual property is wrong.)” I was impressed at the time by his prescient grasp of the intellectual-property issues presented by the Internet and online commerce.
In that article, Barlow wrote:
With physical goods, there is a direct correlation between scarcity and value. Gold is more valuable than wheat, even though you can’t eat it. While this is not always the case, the situation with information is often precisely the reverse. Most soft goods increase in value as they become more common. Familiarity is an important asset in the world of information. It may often be true that the best way to raise demand for your product is to give it away….
In regard to my own soft product, rock ‘n’ roll songs, there is no question that the band I write them for, the Grateful Dead, has increased its popularity enormously by giving them away. We have been letting people tape our concerts since the early seventies, but instead of reducing the demand for our product, we are now the largest concert draw in America, a fact that is at least in part attributable to the popularity generated by those tapes.
True, I don’t get any royalties on the millions of copies of my songs which have been extracted from concerts, but I see no reason to complain. The fact is, no one but the Grateful Dead can perform a Grateful Dead song, so if you want the experience and not its thin projection, you have to buy a ticket from us. In other words, our intellectual property protection derives from our being the only real-time source of it.
Insights from thinkers like Barlow led me to write my 1995 e-book, The Smart Business Guide to Internet Marketing, one of the first e-books published and sold online (now archived for free at Optimization Marketing). In fact, Barlow was one of the people who bought a copy, although I don’t flatter myself by thinking there was much in it that he hadn’t already thought of.
I think a key insight from the Grateful Dead case study is that a successful business ultimately has to rest on customer relationships. Interactive media and technologies place unprecedented control in the hands of customers, and the smart business these days is the one that realizes that the success of its brand will rest on its customer experience.
In the Atlantic article, Barlow tells Green,
What people today are beginning to realize is what became obvious to us back then—the important correlation is the one between familiarity and value, not scarcity and value. Adam Smith taught that the scarcer you make something, the more valuable it becomes. In the physical world, that works beautifully. But we couldn’t regulate [taping at] our shows, and you can’t online. The Internet doesn’t behave that way. But here’s the thing: if I give my song away to 20 people, and they give it to 20 people, pretty soon everybody knows me, and my value as a creator is dramatically enhanced. That was the value proposition with the Dead.
AB — 16 May 2010