Saturday, August 15, 2009

Lifetime Digital Media signs with King.com


Womens' digital entertainment specialist Lifetime Digital Media has signed a deal with King.com, that will see the latter provide co-branded online games to Lifetime’s flagship digital destination, myLifetime.com.

Womens' digital entertainment specialist Lifetime Digital Media has signed a deal with King.com, that will see the latter provide co-branded online games to Lifetime’s flagship digital destination, myLifetime.com.Starting later this month, the new partnership will enable Lifetime’s digital audience to play King.com’s games, which are currently enjoyed by 17.5 million players – most of whom who are apparently women.“Partnering with King.com allows us to engage and entertain Lifetime Digital’s audience in even more compelling ways, and will ensure we continue providing our consumers with the very best game experiences online,” said Clayton Rose, Senior Vice President, Digital Properties at Lifetime Networks. “We are delighted to be working with Lifetime Digital, as there are unparalleled synergies between both of our audiences, which will provide many opportunities,” said Robert Norton, managing director of King.com North America.

“With the leading women’s entertainment brand and the leading provider of online skill games for women joining forces, there are now even more ways for the Lifetime audience to connect, play and share. This partnership is further proof that King is seen as the partner of choice for the world’s leading entertainment companies.”

The various Lifetime Digital Media websites already offer hundred's of female-targetted games. Bolstered by King.com's offering, the group will now rank among the top 25 online casual gaming destinations in several key metrics, it claims.

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New Digital Media Brands Focus on Curatorial Experience



In a digital world where the audiences for media content are fragmenting and advertising spends are declining, some media brands are unfortunately dying. That’s what recently happened to R&B / Hip Hop leader Vibe Magazine.
Does that mean magazines or the companion web sites for those music publications are any less relevant in today’s environment? Of course not!
But imagine you were just starting a music oriented publishing brand today - starting with a physical magazine would not necessarily be the best vehicle to introduce your content to an audience.
So how are new media brands being built in a digital age?
(Since this blog post first published - we have now learned that the Vibe Magazine brand will relaunch as a digital publishing outfit - read - http://bit.ly/viberelaunch at Wall Street Journal. And that makes sense and speaks to the rest of this post. Read on ...)
Following in the post I examine a recently built media brand that found success with its audience: the Swedish based music site Discobelle.net. The site now attracts about 75,000 unique visitors and registers about 250,000 page views on a monthly basis. As Bjorn Jeffery, one of the co-founders points out, “our blog isn’t really tailored to generate major page views, and that’s not the metric we use to sell our ads.” Point taken, and granted Discobelle.net is not a major magazine publisher. Regardless there are some key takeaways in Discobelle’s path to building a modest and very engaged and targeted media audience.
Background
‘Belle’ was actually a dance music theme night at a Swedish night club. Then the founders of the ‘Belle’ night decided to build an online guide to night clubs in Sweden, and the URL they nabbed for the guide actually turned out to be a lengthened name - ‘Discobelle’. From there, the founders decided to add audio content to their initial web site, including exclusive mixes from the world’s top DJs. The site was a success especially because of the special DJ mixes they posted. Discobelle quickly turned from a night club guide into a global hub for some the most cutting edge music on the web. Now Discobelle is more than just a web site, it’s a well regarded music content brand.
Lessons Learned
The founders of Discobelle.net, Niklas Mijdema, Martin Andersson, and Bjorn Jeffery discuss how the site and the brand grew in a video interview that follows in the post. I summarized some of the key messages from the Discobelle founders case you don’t have time to watch it.
I think the video speaks volumes about how websites that curate quality content can quickly grow their own media brand. And when I say “brand”, Discobelle is more than just an audio blog. The Discobelle founders occasionally tour as DJ’s and now have their own music compilation of tunes it put together from songs featured on the site, plus other exclusives.
The Discobelle compilation is available as a CD or an online stream over at ScionAV.com.
(Side note - Yes, I said Scion - it’s the auto maker Toyota Scion. Toyota’s Scion brand offers a myriad of sponsored entertainment web sites with music and culture offerings. The Scion sites are great examples of branded entertainment. I blogged about the Scion site and other branded entertainment offerings in a previous post linked here.)
Key takeaways from the video interview following, regarding media brand building
Exclusivity, and letting the artist speak directly - A big part of Discobelle’s success is due to its direct relationships with artists. These relationships allow Discobelle access to never before heard songs from popular artists and exclusive artist videos. Discobelle also does a good job in letting the artists tell their stories directly through the posts.
Agility, and ‘Curatorial’ over ‘Editorial’ - Another part of Discobelle’s formula is to make sure they are the first to the web with new songs that could be potential hits. We’ve all read for instance how the multi platform media brand TMZ heated up internet traffic through it’s agility in covering the Michael Jackson news (related story - how TMZ innovates with its online content).
With its music content, Discobelle operates in a ‘agile’ mode very similar to TMZ.com.The founders of Discobelle realized early on, that to be first to the web with quality content, they have to discard lengthy editorial reviews of the music. Discobelle fans appreciate the site for it’s ability to curate a ton of a quality content on a daily or hourly basis versus offering reviews which would take much longer to get to the web.
International Audiences around Specific Content - Interest in niche or specific content types knows no international bounds. Discobelle launched in Sweden but has a global audience because its music content appeals to a particular type of music fan you can find just as easily in the U.S. or the U.K. Also Discobelle posts its content in English.
Element of surprise - Offer posts your readers may not be expecting.
Here’s the full interview with the founders of Discobelle.net

Related - Interesting Digital Ventures of Magazine Publishers and Resources
Ok I admit it - I may have unfairly started this article by citing the demise of Vibe Magazine to set up the Discobelle interview. It was only a plot device, I promise
So let’s back up a bit. I still enjoy my physically published music magazine titles. Interestingly enough, many of them offer full Adobe PDF versions of their publications for download. Two examples are The Fader and XLR8R. And these titles I read include multi platform content for sure - whether its magazine branded real world events or fully featured web sites with video and music offerings.
Does your favorite magazine do something interesting or engaging with digital media? Let us know what you are enjoying online with your favorite mag titles below in the comments section.
A great place to catch up with all of the digital ventures of the magazine industry is the Magazine Publisher Association (MPA).
MPA Overview of 2009 Digital Ventures of Major Magazine Publications:
http://www.magazine.org/digital/14321.aspx
The MPA also offers a daily digest of the latest digital efforts of magazines:
http://www.magazine.org/news/mpa-daily-news-roundup.aspx
PaidContent.org news stories on magazine publishers:
http://bit.ly/publication_news_on_PaidContentdotorg
Mediaweek coverage of the magazine industry:
http://www.mediaweek.com/mw/news/magazines-newspapers/index.jsp

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The SEC's new media (and new-media) rules


I had not heard or read much about the SEC's new media rules until I saw a little squib on the newspaper video group pointing to this short story from Birmingham via AP via Biloxi (ain't the Web great?).Ah, leave it to college and professional sports (there's a difference?) to put the hammer down and nicely spotlight some really persnickety issues and realities that are staring a lot of TV and newspaper sports departments in the face.According to the AP, "It only allows TV stations to show highlights for 72 hours after a game ends. The policy also prohibits the media from posting video from practices and news conferences online." And reporters have to sign the contract - or no look-see.So let's see, at a time when newsrooms seemingly everywhere are rushing to create destination sites for various teams' fans, and when video is a major part of those efforts - the SEC just said, in essence, "screw you."The SEC is open in what it wants -- to drive traffic to SEC and affiliate sites. And it has every right to be as draconian as it can get away with.*Spare the anguished freedom of the press cries. So far, at least, the law seems to generally side with the idea that when teams or other groups form private associations, they get wide latitude to control the goods, even if the games, concerts, etc., are on public property or use other public facilities -- and even when government is spending questionable amounts of money providing traffic control and security.So if we are to believe the memes that the Web is becoming more and more telegenic, and the SEC intends to strangle the video baby for all but its own and affiliated sites, what does that tell us?
Well, first, of course, it opens the debate on priorities. Is pro (and that includes most major college) sports really worth covering in a time of shrinking resources? Or should we put the resources into those sports (or other) areas that,for many reporters are not especially glamorous but are truly woven into the community's fabric (high school, rec leagues, club leagues, non-traditional sports). Yes, yes. I know lots of places do lots of good things with high schools, for instance (though take a look around -- that generally applies only to the "major" sports), but this is still a baseline question that needs discussion. Oh, you'll never answer it to everyone's satisfaction, but it gives an excuse to quaff a few beers to get lubricated for some of the tougher stuff ahead.
Should we launch an all-out assault on the legality of private or quasi-private associations being able to use public facilities but restrict access? OK, if they can, should we seek to require that they effectively "rent" the facility and pay the cost of all government-funded support services?
So if you can't use video, can you use stills and audio? (You'll probably be busted on that, too, if the sponsoring organization decides you're sucking traffic from its site.)
Which leaves us with what? The intrepid scribe (a general term for all reporters, please)? But where does that leave the scribes. All due respect, but much of sports reporting, like the staged events it leads up to, is staged itself. The obligatory and lightly revealing after-game or midweek news conferences, the after-practice sessions, the precleared meetings with players.
Look, I did it from time to time for AP. No, I don't claim to be a veteran sports reporter, but I did it enough and supervised others who had to do it that I know the trenches. Yes, there is good stuff being done out there, but even more so on sports (and lord knows, it can get bad on the "government" side too) we tend to suck the teat of the hand that feeds us (no letters, please; I meant to write it that way).So the intrepid sports editor facing that nest of fanlings he or she desperately wants to attract away from the more established fan sites (ones that tend to have gotten the idea of online social communities early) is left with what? Reporting? OMG.Because now, no matter how good your reporter is, in fact the better she is, the more she's likely to piss off someone in the home office. Go find a DVD of "The Paper," for instance, and watch how Penn State's sports department ostracizes a reporter who takes it on her own initiative to actually go get a story instead of waiting to have it handed to her or have it "cleared." ("We don't do things that way" (not an exact quote, but close) is the pompous pronouncement she says she got from the SID's office.)So, at a time when staffs have been cut sharply -- even in sports -- and now that you don't have the eye candy, do you leave your staffing as is and hope he, she or they come up with the occasional nugget and can outwrite the hell out of the competition? (The Don Quixote approach.)Do you assign another staffer as the sacrificial lamb, throwing caution (and deference to the SID) to the wind and use that person to go track the stories and those players and coaches down outside their protective cocoons? The reporter doing this is likely to have limited shelf life before he or she is effectively cut off, so you'll probably have to rotate people through -- and of course, there's always the chance the offended parties could cut your whole organization off.In short, in an era when there is all this talk about pay for content, we have here a budding petri dish in which to examine this idea of value. How do you react and what really is your value proposition when your main source politely tells you to get lost and take your tinsel with you? Oh, and when what's left is being done in decent measure by many of your competitors?Sports, and the legal ability to take control of the event-related news, just highlights these challenges in an online world. Don't get too smug, Mr. or Ms. City Hall or Statehouse reporter. Yeah, the pols can't throw you out or keep you from recording. But they can ignore you, and they increasingly are with blogs, Facebook, digital governance initiatives, etc. But we're the only ones who can go beyond that surface feed of the City Council meeting and make it make sense, put it in some context, you say? OK, do it, but just like on the sports beat, too often we remain tightly tied to the hands that feed us. (Go tally up sometime the amount coming from press releases, government reports, police blotters, etc.)"But no one loves us anymore, and they should, because we do this vital public service," goes the cry. Reality check -- most of them, and that includes the public, never loved us. They tolerated us because we were the only or one of the few games in town. But now, in the digital age, when everyone is a publisher and getting that eye candy and finding that other "unique" content is more important than ever, your suppliers are cutting you off. How will you respond?Leave it to sports - and the SEC, it's greed on full display - to nicely frame things.---*The AP reports that SEC spokesman Charles Bloom "said changes could be made to the 72-hour window, the ban of online video and the definition of an event that currently includes practices and news conferences. He said the league had received complaints from 35-40 news outlets."

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All Over The Media Map.

As usually happens when we don't update for a few days, items are piling up in the OMW Warehouse. That's odd, since we didn't know we actually owned a warehouse...CHOPPER DOWN: No, that's not a literal use of the phrase, thank goodness.But in the Cleveland TV news wars, OMW hears that yet another station has decided to abandon its aerial news firepower...leaving the sighting of a TV news helicopter as a rare event in Northeast Ohio.The latest grounding is of Local TV Fox affiliate WJW/8's SkyFox HD.OMW hears that "Fox 8" did not renew its leasing contract for the helicopter, which expired last week, and that veteran helicopter reporter Pat Brady is out as well.We don't know the business arrangement 1oo%, but we believe she's part of the company operating the helicopter for WJW. Of course, Ms. Brady was a long-time part of Baron Aviation, though we know if that extended to the current form of the company leasting out the copters.We believe the exit of "SkyFox HD" leaves just one semi-regularly operating helicopter in Cleveland TV news - the one used by a certain alleged CBS affiliate broadcasting from the basement of the Reserve Square building in downtown Cleveland.But even the Shaker Heights/Lorain TV Empire does not use its (presumably leased) copter on a regular basis these days. More often than not, its traffic reporter is sporting his jumpsuit standing on the station's news set in that aforementioned basement. Its use of the helicopter is described by most as "very occasional".As for the market's other two major news operations, we believe both Gannett NBC affiliate WKYC/3 and Scripps ABC affiliate WEWS/5 have basically grounded their copters for some time.All of this started due to economic conditions.Helicopters can sometimes provide a decided advantage to a newsroom in covering breaking news.We noted here that when Cleveland TV newsrooms were faced with two major breaking news stories at the exact same time, WKYC was able to use its helicopter to cover one of the stories from the air - a train derailment in Painesville - while devoting just about everyone in the building to cover the SuccessTech school shooting incident literally across the street from WKYC's 13th and Lakeside studios.But when local newsrooms started laying off staff every other week, or announcing furloughs or other cuts, spending money on a helicopter took a very quick back seat.And back when gas prices were nudging up into the stratosphere...well, fuel costs for one of those things make your own fill-ups look amazingly inexpensive. Even now, after prices nudged down into the "merely expensive" category, it's still costly to fuel a helicopter.The days of helicopter-covered TV news seem assigned to history now, particularly in non-major markets....and in the future, stations are more likely to turn to viewer cell phone video to reach places they used to reach by air...SPEAKING OF PAINESVILLE: It's been on for a while, but OMW hasn't yet noted it.A new non-commercial radio station has become Northeast Ohio's second Spanish-language radio outlet.WHWN/88.3 Painesville "La Nueva Mia" signed on a month or two back, with a transmitter site putting out 700 watts (Class A) on the southern edge of Painesville.The station is owned by La Cadena Mundial Hispana, Inc. (Hispanic World Network), which itself is fully owned by one Nelson Cintron, Jr..News junkies in the Cleveland area...no, your ears are not perking up for no reason.Cintron (as far as we can determine from extensive research) is the former Cleveland City Council member who mounted a campaign to recall the man who replaced him as a ward councilman, as a result of a previous election.But it's not the politics at play here. Cintron has a history in Spanish-language media in Cleveland, so he's no stranger to the work he's now doing out of WHWN.He's apparently also showed up in a thread about the station on Radio-Info.com's Cleveland board.WHWN puts out a pretty good signal.On a recent trip in the I-271 corridor in Cuyahoga County, we got a listenable signal out of "La Nueva Mia" from just north of the 271/Chagrin interchange all the way to just past Ashtabula. (Well, "listenable" aside from the fact that your Primary Editorial Voice[tm] doesn't speak Spanish.)But that's led to some grumbling by fans of the area's other station on 88.3, Baldwin-Wallace College's WBWC Berea "The Sting".The presence of WHWN has effectively cut off any listenership that WBWC had east of I-77, and there's flutter affecting it from the new Painesville outlet as close to Berea as Brooklyn.There are some questioning that, and we don't know enough about the engineering to tell if that's to be expected.But it seems possible that any East Side coverage WBWC had before was basically by default, since there was no 88.3 operation in the eastern suburbs to interfere.WBWC, as noted, is licensed to Berea...home of Baldwin-Wallace.Its 4,000 watt class A signal is somewhat directional, in part to protect stations like first-adjacent WZIP/88.1 at the University of Akron.A quick look at its FCC FM Service Area Map shows the primary WBWC signal area does not reach places like Parma, Seven Hills or Cleveland itself. But we're sure "The Sting" had listeners over there...before WHWN took to the airwaves.Assuming all is up to snuff and legal with "La Nueva Mia"'s new operation, the only way WBWC would be able to regain those listeners is to move to a new frequency...and we're pretty sure that after all the shuffling in the non-comm band in Northeast Ohio over the years, there probably isn't much more room to move.The other (legal) Spanish-language radio operation in Northeast Ohio is another non-comm, WNZN/89.1 Lorain, which rimshots its own city of license from a transmitter site in Berlin Heights...AND A NOTE: We are starting to "go long" here, so we have some other items for later...including that long-promised story of the retirement of a long-time Cleveland TV personality, written by one of our regular readers...

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Major League Baseball’s All-Star media cattle drive.




The day before the MLB All-Star Game in St. Louis at Busch Stadium, I was sent to the Riverfront Hyatt Regency hotel in downtown St. Louis to cover the myriad of press conferences that lead up to the big game. First, there was the press conference where they brought out the two managers and starting pitchers and talked about the starting lineup. Next was the one of much anticipation: the National league player availability conference in which this year’s All-Stars sat at individual tables in a large room and the various media organizations got the chance to have at them one by one.
As you can guess, there was an extraordinary amount of international media there. (I counted at least 25 members of the Japanese press alone). Outside the closed doors of the room there was a press buildup of camera operators, television correspondents, radio producers, boom microphone operators and their sound engineers, pen-and-pad scribblers and still photographers like me. The crowd was densely packed and in close company, I thought; so much so that I was close enough to hear a conversation among one news crew comparing this event to last year’s in New York City: “This crowd in St. Louis is nothing compared to last year in New York. This is not nearly as bad. You needed to know karate moves ancd may have needed to kick some butt just to get your own space there,” one of them said. But to me, it was frenzied enough. But in a good way.
I don’t mind a crowd. I never have. So to me it was quite exhilarating to be in the mix when the doors opened and the race was on.
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Big surprise: Big media wants to make bigger profits from the Internet.

How fitting: the copyright-obsessed Associated Press has written a story about News Corporation's plans to charge for access to its websites:
Visitors to the Web sites of newspapers owned by News Corp. will have to start coughing up fees to read the news within the next year, Chairman Rupert Murdoch said.It's risky for the company because a pay barrier could drive away Web traffic - and with it, advertising revenue."You don't want to be the first guy to put up a big pay wall when all other roads to content are open," said Ken Doctor, a media analyst with Outsell Inc.Yet it is a move many news outlets will closely watch as they, too, consider charging users as the decline in print ad revenue far outpaces the growth of online ad dollars.Good luck with that plan, Rupert. TimesSelect worked out so well for those other guys, didn't it? Let's hope they put subscription gates on the Fox Noise website so that its traffic will decrease.There's nothing that Murdoch's News Corporation publishes that is really worth reading, except perhaps the business coverage in the Wall Street Journal, but there are alternatives even to that, like Bloomberg.Here's a hint to media execs: Especially in this economy, expecting that people are going to willingly pony up cash to visit ad-infested news websites that sport mediocre content is not a smart assumption. Rather, it's a great way to drive away users who will end up at other sites, bolstering their readership and subsequently the ad revenue too. The Internet is an open medium; the barrier to entry is low. People have other choices besides traditional media for their news. Hyperlocal neighborhood blogs are a fine example. Then there are social networks, a way for people to freely exchange information. Twitter and Facebook may run more ads in the future, but they won't charge for access. As for the Associated Press, they arrogantly seem to think that there is no such thing as fair use. They have announced the introduction of a new scheme that they think will make it possible for them to find out who is using their content and where (and not just entire articles, mind you, but keywords and snippets) so that they can demand payment for it. They already have a website set up to collect voluntary payment from unwitting Americans who don't understand their fair use rights. This website will gladly charge you a fee for any sentence or phrase you put in it. If all of this sounds pretty stupid, that's because it is. The great minds who run the Associated Press seem to think their scheme is going to be enforced by a special "microformat". From their announcement:
The microformat will essentially encapsulate AP and member content in an informational “wrapper” that includes a digital permissions framework that lets publishers specify how their content is to be used online and which also supplies the critical information needed to track and monitor its usage.Whoever wrote this announcement for the Associated Press has no idea how the Internet works and probably couldn't explain what HTML stands for if they were asked. It's actually rather hilarious. That's because what is described in that paragraph above - a "digital permissions framework" for news - is impossible to implement. Text published on the Internet cannot be forcibly contained in some mythical "wrapper" that contains a web beacon or tracking code. Any text that can be seen can be copied and pasted by a user to their heart's content, sans "wrapper". But here's where things get really funny: the technology the Associated Press claims it will be using to "wrap" its content is actually just an open standard that's in development which allows content creators to put copyleft tags on their content!
hNews is funded by major foundations, and all of its tools and specs will be released as open-source software.In what way does this scheme "wrap" and "protect" the news? It doesn't; it simply marks it up, and adding tags expressing a content creator's wishes on reuse has no bearing on someone's rights under US copyright law. What it does do is provide organizations that use hNews a way to release more rights than are granted under copyright—in essence, a sort of "Creative Commons" news license. In fact, hNews' "rights field" uses ccREL, the Creative Commons Rights Expression Language.Incidentally, because I copied and pasted a few paragraphs above, the AP apparently believes that NPI owes them money. They have a history of making such threats to online publishers. Well, they won't be getting a dime from us. United States copyright law allows excerpting of their articles under its fair use provisions. The Associated Press is sorely mistaken if they think they can obviate United States copyright law with their own silly edicts.Fortunately, not all big media companies are copyright and profit obsessed: Thomson Reuters Vice President for Media, Chris Ahearn had the good sense on Tuesday to urge the Associated Press to "stop whining." Well, now we know there's at least one executive out there who gets the Internet.

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You've already seen the player hands-on; the final reveal for the Zune HD was how well it handled when docked on a high-def TV. As you can see in this video, it blows away anything else in its class.
I was trying to figure out what it was about the Zune HD's TV interface that I was enjoying so much, and then I realized: Unlike every other device of its size and capacity, this thing is a true portable media center. It's not as fast as a fully fledged PC running Windows Media Center, but it is zippy as hell for a pocketable, portable player.
Zune HD goes dark when it's docked, like you see in the gallery. This isn't like an iPod—once docked, it's invisible, the power behind what you watch or listen to. The remote is the key. I bopped around, browsing music, scanning for radio stations (that HD has a few meanings, including an HD radio receiver, so you can see the "what's playing" data and everything) and even watching a short full-screen video on this 60-inch Samsung. The demo Zune only had the one video—I can't wait to see what it's like to fill a 32GB one with great movies and TV episodes.
The only noticeable thing missing from the interface was any online connectivity—you can't download movies to a Zune without a PC anyway, but docked, I am not even sure you can stream music (as you can when carrying a Zune in a Wi-Fi environment). More on that when we review it, naturally.
As we showed you months ago, the player itself takes the PMP user interface to a new level. When you select something, all the screen elements move at different vectors, creating at times a 3D effect, as you can catch up close in the video below. (Pardon the glare, but that's one hazard—for better or worse, it's a shiny shiny screen.)
I don't want to say more—this is not a review, and I won't be the reviewer when we do pass judgment—but let me say that, as someone who's never been terribly excited by past Zunes, this one took me pleasantly by surprise.

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