Greg Hills
I chase ideas. Sometimes I catch them.
Posts
Brian O’Kelley of AppNexus wrote an interesting article last week in ClickZ affirming the ad networks’ rightful place on the agency media plan. He encouraged ad agencies to worry less about about the ad networks’ business — i.e., those tantalizing 70% margins reported in SEC filings — and more about their client’s business. After all, if you are able to do a better job for your client, who cares if it causes someone else to make more profit? This is good rational advice, but its not the way humans ordinarily think.
Take the Ultimatum Game, a psychology experiment that examines decision-making processes. Here’s a quick summary that I found on Ars Technica:
The basic rules of the Ultimatum Game are simple. One person is given a stack of cash, and told to divide it between themselves and a second party. That second party is then given the chance to accept or reject the offer; if it’s rejected, neither of them get any money. Clearly, any of this free money should be better than nothing, so under assumptions of strictly rational behavior, you might expect all offers to be accepted.
They’re not. Things in the neighborhood of a 50/50 split are accepted, but as the proportions shift to where the person issuing the ultimatum tries to keep seventy percent of the total, rejections increase. By the time they hit an 80/20 split, nearly 70 percent of the offers are rejected, even though that 20 percent of the total cash would leave the recipient better off than where they started.
Some agencies fall into the same trap, leaving 20 cents of client value on the table because they can’t stomach another supplier taking 80 cents.
If you’re focused on buying marketing inputs (e.g. impressions) as cheaply as possible and you demonstrate value by referencing the savings you’ve generated, then you’re a procurement officer and you create value by hammering away on your suppliers’ margins. If you’re focused on delivering marketing outcomes (e.g. consumer engagements, a few points in brand lift, sales) by properly pricing marketing inputs, then you’re a strategic partner and you create value by building your clients business. I know this seems a bit polarizing, but I do believe these are distinct mindsets and people are usually operating in one or the other.
We’re at a transformative moment in the media business. The advertising value chain is playing a game of musical chairs and, for better or worse, you’re going to be sitting in a different chair a few years from now. The question is: what chair do you want to land in? The mindset you take today will decide your role in the future.
I’m attending the Right Media Open in Chicago and, no surprise, change is in the air. Although there is a general consensus on where the industry is headed, I am seeing a healthy debate around the timeline for that change.
While discussing the importance of indirect, bid-based sales to publishers, Dave Zinnman from Yahoo pumped on the brakes, saying that if you believe exchange-based inventory will become dominant in a “career-relevant timeframe”, you need to “step back from the punch bowl.” For me, “career-relevant timeframe” is the most important phrase I’ve heard today.
No matter what your business, its important to have a realistic understanding of how fast your market is changing. Just today, VMM founder Darren Herman retweeted his 2008 post comparing the rate of innovation with the rate of adoption, and reminding entrepreneurs to build for today’s market. That’s the relevant timeframe for a venture backed startup between rounds.
Here in Chicago, the question of the day is: what is the relevant timeframe for advertising-related companies evaluating the momentous shift toward automation?
Up until now, I think media decisionmakers have been very confident in their ability to influence the rate and direction of change. At the 2009 24/7 Real Media Summit, I was struck by GroupM CEO Irwin Gotlieb’s remark that he felt it was, in some part, his responsibility to manage change in this new media landscape on behalf of various stakeholders. Consolidated media buying firms exist for the sake of exerting this type of influence and the comment made me think a lot about how and when the industry would change.
Now that Google has turned its focus to display, they will radically shorten the relevant timeframe for considering change. Google has more clout than any single company and they have built their business on automation and bid-based buying. Whether or not you believe that audience is more important than content in valuing an impression, it is impossible to deny that a lot of client money is lost to the transaction costs of directly buying standardized display inventory. I began my career as a media planner and, like every planner, I spent plenty of time “guesstimating” and doing menial tasks in the current advertising operating system: phone, fax, Excel, email.
Its not necessary for agencies and publishers to surrender to Google — in fact, I think that’s a terrible idea. But it is necessary for agencies and publishers to recognize the economic imperatives that drive Google’s strategy. Without Google, media companies might have been able to defy gravity for a career-relevant timeframe, but that’s no longer the case.
[Thanks to AdExchanger for publishing the original of this post, which I'm now reblogging. There was a lively comment thread over on the original post.]
My work focuses on the economics of advertising, but recently I’ve been thinking about the political economy of advertising. After all, advertising dollars don’t have a mind of their own. They need industry professionals to push them around from one company to another. Trusted personal relationships have historically been the conduits through which ad dollars flow.
This relationship driven world of advertising is now being replaced by the data driven world of advertising. RTB, DSP, SSP….these acronyms have got sales leaders thinking. How do you staff up for this alphabet soup of new business models? Who do you call on and what do you tell them? What does the advertiser need and how do you win their business as a publisher?
When I was a media planner, I had the answer to the last question. I could tell you what the advertiser needed and I would decide whether or not you met that need. This is the type of arbitrary power that brings a recent college graduate towering seafood platters, custom sneakers, and a taste for fine scotch.
Working on the new demand side, I still meet with major publishers and tell them what my clients need. The needs themselves don’t change that much, in fact. Brands still want effectively priced advertising units in safe environments that will get consumers to engage with and buy their products. The key shift is that I no longer decide whether any specific publisher or web page fits that need. The algorithm is the new decision maker.
The algorithm is a better decision maker. It bids rationally by fully incorporating learnings from past performance. It can value tens of thousands of individual impressions per second based on multiple data points.
Algorithms also remove the physical constraints that limits agencies to a small list of publisher partners. An actual media planner using phone, fax and email can evaluate proposals from a couple dozen properties at most. From a time management standpoint, it is inefficient to actually go through with buying and optimizing more than a dozen sites/networks. But with algorithmic buying, the agency can buy and optimize in real time across thousands of sites.
Advertising is the art of persuasion but personal persuasion has now been taken out of the media buying process. Is it fair to make publishers compete on raw performance and not give them any appeals process when they lose? I would argue yes. It’s certainly a better deal for the brand whose marketing dollar is now working harder. I’d also argue that it makes things more fair for publishers, since they are no longer competing on the basis of access to decision makers. The algorithm is the decisionmaker, it will evaluate all publishers in the secondary channel, and its unbiased.
The traditional sales conversation — scheduling a conversation, determining if the product is a fit, then negotiating price — still happens but it occurs between agencies and technology vendors, not between agencies and publishers.
Now, the agency-publisher conversation is less of a sales conversation, and more of a collaborative problem solving conversation. Both agency and publisher are solving for the same thing: getting as much inventory as possible in front of the true decision maker, the buyside’s bidding algorithm. Below is the complex equation – the now infamous ecosystem slide:
Ideally, this chart would be much simpler. There would be one big pool inventory that everyone plugged into, and bidding optimization would be entirely automated. This is not the case, unfortunately. Between the brand and the publisher, there are lots of different TradingDesk+DSP+Exchange+PubOptimizer+Publisher permutations, some of which may lead buy-side actors and sell-side actors to be disconnected. Coarse-grained optimization, like eliminating entire contextual channels or entire exchanges, also removes individual publishers from consideration. So the conversation becomes about managing the supply chain to minimize these disconnects.
To use the old media buying paradigm as a metaphor, its as though agencies and publishers are administrative assistants, working together on logistics so that the the publisher’s inventory can get in front of the ultimate decision maker, the algorithm. That doesn’t sound glamorous, but getting the supply chain right offers much greater rewards than even the biggest direct deal.
“Brand is magic… there is no computer that can figure out magic,” according to Jim Heckman, CEO and founder of 5to1.com, explaining why advertising and marketing will always require a human element — meaning the good services of media planners and buyers.”
“Digital Hollywood: Media Agencies Are Here to Stay — Ad Networks, Not So Much.” MediaPost. May 6, 2010
“Any sufficiently advanced technology is indistinguishable from magic.”
Arthur C. Clarke, Profiles Of the Future, 1961.
Well, do you? Which type of marketing magician do you prefer?
[Thanks to @adexchanger for publishing the original of this post, which I'm now reblogging.]
As our industry continues to rationalize the way brands buy advertising, we’ve seen plenty of new companies and products pop up. Some provide solutions to old advertising problems, like universal frequency capping. Others deal with fresh challenges, like how to handle tens of thousands of real time bidding requests per second.
Despite the rapid pace of innovation, I think its possible to identify 10 larger trends that will continue to operate for years. Taken together they represent not just a bunch of complementary technologies and organizational challenges, but rather a new school of thought — a new way to to think about, plan, and execute marketing campaigns.
| Old School | New School | |
| Buying Pages |
1 |
Buying Audience |
| Forward Markets |
2 |
Spot Markets |
| Sellside Optimizes For Both Advertiser Performance And Publisher Yields |
3 |
Sellside Optimizes For Publisher Yield While Buyside Optimizes For Advertiser Performance |
| Sellside Aggregates Audience |
4 |
Everyone (Sellside, Buyside, Intermediaries) Aggregates Audience |
| Technology Is Strategic For The Sellside And Tactical For The Buyside |
5 |
Technology Is Strategic For Everyone |
| Agencies Work To Foster Internal Collaboration Between Digital And Non-Digital Buyers |
6 |
Agencies Work To Foster Internal Collaboration Between Buyers Of Display And Buyers Of Site Integrations And HPTO’s |
| Buy Instructions And Optimization Instructions Submitted Via Email Phone & Fax |
7 |
Buy Instructions And Optimization Instructions Submitted Via API |
| Testing Cycles Of 4-12 Weeks For Brand Metrics And Media Performance |
8 |
Testing Cycles Of 4-12 Days For Brand Metrics And Media Performance |
| Agencies Allocate Dollars Manually Based On Publisher’s Reach, Brand Equity And Perceived Value |
9 |
Agencies Allocate Dollars Through Automation, Based On Modeling Of Projected Returns On Ad Spend |
| Agencies Rely On A/B Testing For Learning |
10 |
Agencies Use Exploratory Data Analysis For Learning, As Well As A/B Testing |
When it comes to providing relevance, advertisers are handicapped by industry privacy regulations — our codified, monolithic interpretation of consumer desires. For non-advertisers like Twitter and Facebook, consumer privacy is considered more from a product design standpoint, rather than a regulatory standpoint. In this blog post, I’d like to look at ways in which non-advertisers make consumers comfortable sharing the personal data that drives relevance in web experiences.
1) Offering Transparency — When someone I log into a new web service through Twitter and all my Twitter data is populated, the data flow is pretty intuitive. Compare that to the data flows for online advertising. As a consumer, its impossible to understand where the data enters our labyrinth of redirects and market mechanisms and where it exits to target an actual ad.
2) Offering Choice & Control — It’s my choice whether I want to have my data ported into a specific new service. I, Greg Hills, tend to consent. There is of course a tradeoff between anonymity and relevance. But within specific use cases, like signing up for Plancast.com, the cost to my privacy is clearly defined and the benefit of volunteering information is immediately apparent.
Advertisers fail to convince consumers of the benefits of relevance since they argue in the abstract rather than in the context of specific use cases. Urging someone to sacrifice privacy for the sake of Relevance is like urging someone to embrace hedge funds for the sake of efficiency in the capital markets. The benefit is too abstract to seem compelling.
Also, Privacy is considered practically sancrosanct when presented in the abstract. Going against Privacy in general is like going against Motherhood in general. It’s a difficult position to argue.
But when you present the trade-off in the context of a circumscribed web experience, people are willing to sacrifice anonymity for relevance. They’ll put in their ZIP code to get the weather. They’ll volunteer information about the high school they attended so that long lost friends can get back in touch.
When the benefit is made clear, and the privacy cost is limited to a specific web domain or service, consumers will consistently opt for relevance. The challenge for advertisers is to make the cost and benefits clear so that consumers can make informed choices.
3) Creating Trust — Consumers trust what they know. Social networks and content providers are consumer-facing brands, which is a big advantage. The plethora of companies in the ad tech landscape are barely recognizable to people in the industry, forget about consumers. Why would you trust someone you’ve never heard of?
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So, what lessons can we take as advertisers?
1) We need to create a trusted, recognizable brand entity that represents data-hungry advertisers. I think we’re making great progress with the development of universal behavioral targeting icons.
2a) Users are more likely to sacrifice anonymity when presented with clear benefits. Simplifying data flows would make the whole process less scary and allow consumers to associate privacy costs with corresponding relevancy benefits. For this reason, I’m very bullish on log-in’s becoming the building block for the data landscape of the future.
2b) We’re seeing an infusion of venture capital into data exchanges and it seems like a foregone conclusion that data exchanges will play a foundational role in the ad ecosystem. Let’s think hard about the fact the publisher’s interest in not having the value of their audience diluted through data exchanges is diametrically opposed to the consumer’s interest in knowing when they are being observed by advertisers on publisher sites, as well as how and when that data is later being used to target ads. Is this sustainable?
4) A culture of distributed opt-in leads to more innovation than a culture of centralized opt-out.
5) Consumer preferences vary greatly but privacy guidelines tend to set the baseline at the level of the most conservative consumer. A culture of opt-in where individuals express preferences for specific experiences empowers consumers to define their own web experience. They can then make their own decisions regarding the anonymity vs. relevance trade off. Giving consumers power through opt-in culture creates freer flowing data than an opt-out culture.
Relevance is the key to winning on the internet. As advertisers, we’re always striving for relevance, but we’re not really competing with each other. Most often we’re competing with the adjacent content. And average click through rates of around 0.05% makes me think we’re not winning the game.
As I move around the internet, I’m seeing amazing increases in relevance. I can sign up for a new web service like Plancast via my Twitter account and OAuth, and have my first site experience informed by information about me and my social graph. I can read e-mails in GMail and have Rapportive pull in data from Rapleaf showing my correspondents’ Flickr account, Twitter accounts, and LinkedIn account. When I visit LinkedIn, they apply an uncanny intelligence to my social graph, suggesting “People You May Know” that I either do know or would truly like to meet.
Across the web, new levels of relevance are driven by data that is:
1) Persistant — The data doesn’t get erased, so it continues to get smarter
2) Portable — The data goes everywhere I go
3) Personally Identifiable — The website is speaking to me, Greg Hills, not some approximation of who I am
The data driving these new levels of relevance is organized around user names, email addresses, and other persistent, portable, personal identifiers. It is transferred largely through API’s.
Online advertising data is stuck in the ghetto of cookie based storage. How could a cookie-targeted ad compete with content that’s informed by open API’s? Its like bringing a knife to a gun fight — and their guns are only getting bigger! With the accumulation of time, user data is becoming richer. With the growing pervasiveness of API’s like OAuth and Facebook Connect, the data is becoming more ubiquitous at the same time. Advertising relevance is growing incrementally while the relevance of the content I consume is experiencing hockey stick growth.
When will we move past the cookie?
Last week I attended a NextNY panel called “How to Make Advertising Not Suck” in a great space provided by Mike Dudda of Deutsch.
If you attend industry events and haven’t been to a NextNY meetup, I certainly recommend that you give it a try. You might need to buy your own drink, but it’s a great crowd and the community spirit along with the open conversational format make for a great experience.
So, how can digital advertising suck? Let me count the ways:
1) The ad can be totally irrelevant to the consumer who views it
2) It can fail to yield positive ROI for the brand
3) The advertising approach may not scale to the point at which it accomplishes meaningful business goals for the brand
4) The ad can go totally unnoticed by the consumer
5) It can intrude on the adjacent content experience the user sought out in the first place
I’ve listed the problems in descending order of importance to last weeks’ discussion. Relevance and ROI, two deeply intertwined concerns, dominated the evening. Relevance is defined as the proper answer to the age-old advertising strategy question: “Who, What, When?” In the past 12 months, we as an industry have made tremendous strides in providing better answers to this question. Tech companies have built great new products, agencies have reworked their organizational structures to adopt these new technologies, and clients have literally “bought in.”
We still have a ways to go, however.
Event moderator and avid kayaker Charlie O’Donnell mentioned how recently he noticed a wetsuit sale on fashion retail site Gilt Groupe. When he tried to buy the suit, it was sold out. Charlie has probably seen hundreds of display ads since his failed purchase attempt and not one of them had anything to do with wet suits.
We’re going to achieve amazing levels of relevance that will benefit consumers and companies throughout the value chain . But should we, as digital marketers, be so bold as to aspire to achieve more than entirely unprecedented relevance in advertising? Yes.
Brands demand that we go beyond relevance. Online advertising doesn’t suck in general, but it does receive disproportionately small budgets relative to other mediums such as television. One reason is that digital is very good at harvesting purchase intent for products sold online, but other mediums, like TV, are better suited for purchase intent generation. Online is a great complement to other mediums. Online advertising is good where TV fails (relevance, for example) and struggles where TV excels (emotional connection and narrative, for example).
Since online ads exist in a non-linear, non-interruptive, consumer-controlled medium, it is difficult for them to pass what I call the “Nick Drake test,” in honor of my favorite TV ad of all time, below. You can rename the test after the ad which speaks to you personally with the deepest level of meaning.
This ad is not harvesting purchase intent. I wouldn’t even say that it directly generates purchase intent. Instead, it accesses involuntary memory, aka Proustian memory, to create an emotional experience that I still remember 10 years after first seeing this ad as a teenager. This ad certainly does not suck for the consumer, brand, or publisher.
To be sure, digital advertising, specifically conversational media, is entirely capable of creating emotional connections. To take a personal example, I was impressed when I tweeted about wanting a Kindle and Amazon replied with extremely relevant sales information. But I was truly amazed when a human responded thoughtfully to my sarcastic reply to what I assumed was a Twitter-bot. This advertising interaction delivered both relevance and a personal connection. Once TV ads are digitally served, this fusion of digital relevance and analog emotion will become even more scalable.
To sum it up, online advertising currently delivers unprecedented relevance and its only going to get better. Relevance is a big business, but for online advertising to deliver its full potential we have to look beyond relevance.
Here is the full list of requirements for advertising that totally does not suck:
Many companies and individuals are now focused on numbers 1-3, and the winners will win big. But that is just one battle. The ability to pass the “the Nick Drake test” at scale will decide who wins the war.
I had a thought-provoking client conversation earlier this week. As the client increased spend for their display campaign with my company, we mentioned that the eCPM for ad exchange inventory would increase slightly. They asked an interesting question: “Shouldn’t it be cheaper if I buy more?”
We’re all used to getting volume discounts. When I supersize my meal at McDonald’s, buy toilet paper at Costco, or buy two bars of soap to get one free at CVS, I’m decreasing my unit cost by buying more. Retailers include volume discounts in their pricing structures when they can increase profits by selling more units, despite the lower unit price.
Volume discounts are prevalent in media buying. Publishers often lower the CPM, or unit price, below the “rate card” for big agencies that spend a lot. Big agencies turbocharge this volume discount. They leverage the collective spend of their entire client base in upfront publisher negotiations, achieving lower rates which are then passed on to the individual clients. Big brands, in turn, leverage their own scale in fee negotiations with agencies. Everywhere you go in the traditional media world, bigger spend equals cheaper rates. So it seems totally backwards to pay higher CPMs when buying more media. What kind of incentive is that after all?
Here’s the important point revealed by my client conversation: A huge, underrecognized shift occurs when advertisers and agencies begin buying media from markets, such as ad exchanges, as opposed to media retailers, i.e. publishers. In a market, prices are determined by the intersection of supply and demand and, all else being equal, price goes up as you buy more. Those familiar volume discounts go away.
These pricing dynamics are familiar to search buyers, since search prices are determined by market mechanisms. Google designs the market for selling their search listings, but they don’t set the CPC price themselves. Nonetheless for anyone used to buying media from publishers instead of markets, paying a higher rate when buying more still feels kind of weird.
I’d like to make two high level observations on how media markets change the agency business:
1) The shift to media markets and away from media retailers is a democratizing force for the buy side. If the big guy doesn’t get a price break, it makes it easier for the little guy to beat the big guy at serving advertisers. When the market paradigm is dominant, like in search, talent and technology will win every time regardless of who is the biggest.
2) The media market paradigm advances the client-agency conversation from a discussion about media to a discussion about the client’s true business goals. When the media agency stops talking about delivering good media prices ( “Through volume discounts, our agency delivered $20mm in cost savings to your business this year.”) they have more time to talk about delivering customers to the client (”Through smart targeting and bidding on the $100mm of media we bought, we delivered new customers representing an estimated $400mm in lifetime value to your business). Once this more strategic conversation becomes the norm, and advertising is discussed as a business driver instead of a cost center, agencies and clients will both be better off.
Advertisers bidding on media inventory now have a wealth of information on individual ad impressions and the audience behind them.
Much of this data has only become available recently and there is going to be a tremendous amount of learning in 2010 about what data is most important.
One new kind of data is ad visibility, which reflects how long an ad was visible to a user, if at all. Online advertisers currently pay for ads that are placed on portions of the page the user never sees, often because the user doesn’t scroll all the way down the page. Mpire, a company working on ad visibility, reports that as many as 40% of all display ads are never seen by consumers. That’s a whole lot of ads and a whole lot of advertising dollars wasted.
Digital marketers have been aware of the ad visibility issue but I think 2010 is the year where we’ll see it enter the mainstream conversation. Here’s why:
In an environment that is increasingly driven by quantitative analysis of performance, ad visibility is the single data point that is most predictive of performance. You don’t need to perform any statistical analysis to understand that an unseen ad is totally worthless. Imperfect reporting in major adserving platforms like DART and Atlas currently allows an unseen ad to receive credit for driving a purchase. But it is only a matter of time before these systems advance and unseen ads are recognized for what they really are — a big drag on campaign performance.
More and more ad technology companies are offering on ad visibility. Tracking ad visibility requires additional javascript code, but more and more companies are beginning to report on the metric. Here are a few of the companies who have started offering ad visibility in the last year.
- Lotame’s Time Spent technology
- RealVu, a dedicated ad visibility reporting platform
- Adometry, a custom reporting platform which includes
- Eyewonder’s Ad Visibility reporting suite
- MPire’s adXpose reporting product
- Eyeblaster’s Dwell Time reporting [authors note: added 12/16/09]
Ad visibility is well positioned from a market perspective to achieve widespread adoption. Big advertisers have a lot to gain through ad visibility reporting. By measuring the most basic performance driver for their advertising, advertisers can better manage their media buying. In the future, advertisers might insist that they only pay for ad impressions that are actually seen by consumers. Big publishers also would stand to gain if ad visibility becomes a key metric. Since ads are more highly visible on professionally produced content pages where users spend more time, ad visibility would allow premium publishers to claw back ad dollars from the long tail. David Cohen of Universal McCann points out that MSNBC has already formed a partnership with RealVu, a company that provides ad visibility reporting. Many of the recent advances in display advertising practices, and the resulting shifts in revenue, have benefiting advertisers and the long-tail, at the expense of major publishers. Ad visibility is unique because it aligns the interests of advertisers and publishers.
The importance of ad visibility is common sense. And based on my view of the market, I think it will be recognized as such in 2010.
Updates
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@saralivingston you could probs teach a seminar huh?
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@saralivingston @jayne True Story 2k8 agency innovation leader telling me I can't blog but they're in vendor selection for ent. soc. network
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“@mbutterf: Folks who can act @johnrmatthews: Do we need more #datascientists or more managers who can intelligently act on answers”
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@jwegener @sidecarsf thx for reco, will check it out
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@adampritzker give me more sitcom-premise Japanese idioms pls
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@kathryndoyle he must think highly of you and the guest list to identify you as a target
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“@cmicon: http://t.co/zDIbBmeK - @tellapart COO Tom Cheli smashes @nicholasgorski 's helicopter. #GetBackToWork”Even better than I imagined
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@alannaaroazzi ah yes my sister in Manhattan Catholic schools, I sometimes forget that you are clued in on all this
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When I did high school debate, we didn't have power ties or suits. It was pen spinning that established street cred http://t.co/q79Rqr8P
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“@stevenbjohnson: Best thing I've read on #Girls, written by super-smart Elaine Blair http://t.co/9LH1Jata” Lena Dunham is incredible talent
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@alexmagnin BIEBER MONEY!
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@JohnAHarms generates more ad impressions to sell since they load new ads. Less effective ad experience, b market isn't perfectly efficient
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@nicholasgorski right now it's really cool to learn Python or Ruby and it's never cool to learn Excel
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@nicholasgorski but that's my insight: there is a hole in the market to operate at Excel level of abstraction:below PowerPoint, above Hive
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@JohnMLevitt 'Hadoop' is the new 'algorithm'
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@km Canadian modifier? That's racist dude, but it wouldn't be half the factoid without it ;)
Posts
The beat [just the beat] on this Gucci Mane / Neptunes song will be my vacation musical mantra.
I’m going to pause personal blogging for vacation and a bit after. I’ve been at my new job for a year and a half and have developed some thoughts so I might go back to professional blogging for a bit.
In the interim, I leave you with this awesome blog post, found via TellApart’s Dr. Nick:
Eight years since Steve died. I keep looking for meaning, but all I’ve found so far is that in order to be at peace with the present, we must be at peace with the past, because the present is a product of the past. Accept. Accept. Accept. Learn to love the present moment. What happened, happened. It’s difficult to understand the big picture when our lives are mere brush strokes on the canvas of reality. Trusting that it all fits together to form something beautiful is the purest form of faith. Anything else is a dangerous distraction. No contracts with God, no expectations of reward, just trust.
Shouts for their write-up in NYTimes on recent Jordan Wolfson show:
“Animation, masks,” the 12-minute 29-second film that is the entirety of Jordan Wolfson’s New York gallery debut, has the hallmarks of a classic. It rejuvenates appropriation art through the incisive use of digital animation, achieving an intensity that rivets the ear and the eye while perturbing the mind.
…
Its only character is a jarringly stereotypical Shylockian Jew, with hooked nose, yarmulke, frizzed hair and beard and misshapen teeth, who is rendered in sleek high-definition animation (but only from the waist up). Sometimes benign, sometimes demonic, this gnomic cross between a Hasidic Woody Allen and a Semitic Yosemite Sam lip-syncs the sexy, whispered dialogue of a pair of young lovers that evokes the indie-film subcategory known as mumblecore, while executing repeated rap-music hand gestures.
Interesting dudes with interesting goals running a cool space with interesting artists.
What a guy! So happy to see a clip of Andre and his art on BET.
BET coverage of Andre Woolery’s Bruised Thumbs solo show.
1) One to one
2) One to many
3) Many to many
4) This:
One of my favorite parts of Twitter is watching two accounts converse semi-privately save for the Venn Diagram intersection of the two follower accounts.
I created a Pinterest account to get a sense for what the site/community feels like. Successful socially-oriented content platforms like Pinterest, Hype Machine, Tumblr, Svpply, Instagram all achieve a magic alchemy between three interrelated factors:
1) The presentation layer aka the experience of the website/app
2) The audience/community
3) What the community chooses to share in that particular venue
The links above are my profiles on each respective website. I’m the same person of course, but its expressed differently in each venue based on the triangulation of the three factors above. Furthermore, my willingness to participate depends on the attractiveness of the three when I first show up. The earlier you show up, the more malleable everything is. If you show up early, you get to see the community norms being formed which is fun.
Interesting article by Nathan Jurgenson. Its a very interesting time to be doing a sociology PhD…. Hat tip to rock star TellApart employee Sree for tweeting this.
The basic premise of article:
We can view Pinterest from “dominance feminist” and “difference feminist” perspectives to both highlight this major division within feminist theory as well as frame the debate about Pinterest itself.
I expected my Pinterest board “Pinterest is for Dudes” to send shockwaves through the gender studies community but I haven’t received any interview requests yet…
“I’d rather be reading Bukowski”…refreshingly nihilistic for an SF bumper (Taken with instagram)
Redman-“Gilla House Check” (Smack DVD Vol.9, 2005)
Reggie takes the mothafuckin cake for the most obscure goon activity ever caught on camera. I don’t even know what to say. All this is going down with a wall behind them fully decorated with women’s purses. Let’s not forget my dawg with the aviator shades that kept licking the barrel of his swammie the whole video through.
Let me take a minute to contextualize this reblog from my new favorite source of late 90’s early 2k’s hip hop nostalgia. This video was filmed in winter 2004/2005, just a few short months after Fox cancelled Method and Red, a primetime sitcom that I remember watching with my family on occasion. In the show, Redman and Method Man move into a wealthy white suburb. The Wikpedia show synopses are pretty good:
Episode 4. “One Tree Hill”
Method and Red become power mad after becoming co-presidents of the neighborhood association.
Episode 6. “Kill Bill Vol. 3”
Method and Red pit Nancy and Bill Blaford against each other as a part of a plan to use the Blafords’ porch for the Miss Ghetto USA beauty pageant.
This really happened!! What a great moment in pop culture history.
What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject-matter, an art which might be for every mental worker, be he businessman or writer, like an appeasing influence, like a mental soother, something like a good armchair in which to rest from physical fatigue.
my favorite dali because it has a sailboat, a woman in a sheer dress, right angles, a fibonnaci feel to the proportion of the quadrilaterals, and its realist. i don’t really like dali. I’m too bougie!
Salvador Dali: Woman at the window
I just realized that. Here’s the traffic from Google Analytics.
Do you want to know that spike in traffic was? This post of Henri Matisse’s Le Bateau…no commentary, just the image. A weird traffic gift from the Google algorithm gods.
The way I’ve always approached the blog is to discipline myself enough to make it accessible/interesting enough so that hopefully 10 people read it, then optimize for creating the truest representation of what I’m thinking. We live in an attention based economy where the ability to push insightful, compelling content on things related to your job is key to success — full stop — and this blog is a vacation from that. Here are five mandates of good business writing that I don’t pay attention to on this blog:
1) It’s not about you
Good business writing is a spotless, gleaming tool. It can’t be gooped up with your human desire to be known as your true self…not just because its ineffective but also because its inappropriate. Your professional self should be a public self, an approximation of your real self which functions as a device to accomplish some goal. (I’m talking about the written word here, not how you carry yourself in person.) Some people’s whole professional shtick is “keeping it real” which is really hard to pull off.
I find people that behave the same in professional and personal contexts to be boring and one dimensional….or, on the flipside, totally batshit crazy but those are a rare, enjoyable breed.
2) Be clear
Readers should be forced to agree or disagree but not be forced to interpret what you are saying.
The prose should resonate with what readers already know, but readers shouldn’t be able to imbue their own meaning into the words.
3) Generally avoid allusions
Allusions multiply potential meanings and at the same time diminish the number of people who can access any of them. Good business writing should not be interdependent, it should be totally self-contained. Allusions also create a good smokescreen for unresolved cognitive disconnects that a good writing process should eliminate.
4) Encapsulate
I’m talking clean takeaways, baby, always and everywhere.
5) The ideas should challenge, the prose should not
The ultimate test of good business writing is the ability to get the idea across to someone who could not care less. Seth Godin is the master of this IMHO, in that if you read the first sentence of one of his posts its almost impossible not to read the whole thing.
Was listening to How To Dress Well Just Once EP today at work. Real good.
context via the artist’s blog:
“… once
each thing, only once.
Just once and no more. And we too
once. Never again. But this having been once,
even if only once: to have been of the earth seems irrevocable.”
- rilke
that’s pretty good too.
Related: This cover art is the same as the Washed Out cover art. Who wore it better?
Damien Hirst interview, talking about his dot painting global exhibition with The Gagosian Gallery. My backhanded complement: of the major artists of the 20th century, he is the one that is the most reminiscent of Ed Hardy. Nah, but I respect him.
Audio
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This Laidback Luke 2011 electronic music recap mix is incredible. I went on some real long bike rides listening to this mix.9400 plays
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They turned the poignancy up to 11 for this song. Beautiful. Almost too beautiful to come from a group called “Crazy Penis.” Shouts to Kyle Quilici.0 plays
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Love the baseline on this sparse bouncy electronic track. It sounds like visiting the aquarium in an awesome way! By Blackbird Blackbird.48139 plays
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…The Mariano of the Marriott…41 plays
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Holla, holla, holla, if you want to….so smooth.114 plays
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Wale ft. Big Sean - Slight Work. Diplo is producing some good rap beats. Stupid simple: 1) That weird bongo sound from “Can’t Stop, Won’t Stop” 2) A siren he chopped up 3) Two syllable vocal sample 4) A handful of buttons on a drum machine So strong! The whole album is real good.105690 plays
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Saturday morning sunrise with Microsoft Excel and house music, it was awesome. I’m pretty excited to head to tonight’s Deadmau5/FatboySlim/A-Trak concert with some peeps from work.0 plays
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Its only Wednesday and I already have my Saturday morning wake up jam. Thanks Chris! This whole album, Rock Creek Park, is lovely. bodylanguages: Oddisee - Skipping Rocks2 plays
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Electro DJ Wolfgang Gartner teamed up with Harlem rappers Jim Jones and Cam’ron (2nd verse) for this incredible song “Circus Freaks” which I’ve had on repeat all week. Cam’ron’s verse’s references and randomness is always a joy : ”girl i’m selfish / shellfish lobster / look at you, relish / got on velvet”.437 plays
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“Daylight” by Yesterday’s New Quintet. This is from the first album of Yesterday’s New Quintent. This album was released on 9/11/11, the same day that Jay-Z released the Blueprint. The fun thing here is that Yesterday’s New Quintent does not actually exist. There is one hip hop producer, Madlib, who works with MF Doom and Erykah Badu and he is playing every instrument in this jazz quartet. Not only does he make all the music himself, he concocts the officially published but totally invented story of the band, the band members, and the how the band is evolving.0 plays
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Sending you good vibes from my vacation. This song 2 People is unstoppable. I mean, the guy who made it calls himself Jean Jacques Smoothie.0 plays
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Sunday morning house music: “My Feelings for You” by Avicii, from Avicii’s awesome Dec 11, 2010 Essential Mix. Even though house music is the best cleaning music, house music was invented by gay black and latino men in the 1980’s and ironically has nothing to do with the house dress, pioneered by suburban housewives in the 1950’s.0 plays
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Big fan of Lana del Rey right now.0 plays
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WATCH THE THRONE (contd.) The choruses on WTT from Frank Ocean, an R&B singer who’s part of OFWGKTA are alright, but this is the solo Frank Ocean jam I’ve been playing on repeat. He turned the falsetto up to 11 on this spaced out beat, so awesome.0 plays
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Flight Facilities - Crave You This is the sexiest song I’ve heard in a minute, sounds like Andre Balazs and Sophia Coppola had a song baby together.0 plays
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If you are a fan of the Diplomats or just NY rap in general, you must download this mixtape. It is a true classic. Max B, who co-wrote Jim Jones’ “We Fly High”, has such a unique flow, like a Harlem version of Bone Thugz. He’s made an incredible amount of mixtape material and he apparently is still releasing music despite currently doing a 75 year sentence for murder.1 plays
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One of the best parts of working at home is that when I need a break, I can two step around the apartment listening to this song. Maybe we can get a break room at work, or something…10 plays
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Saturday morning Ghostface, find yourself some sunshine.0 plays
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Lil’ Wayne offers a few candid thoughts on work/life balance in this skit on The Dedication 3 mixtape. I like to think of this as an edgier rephrasing of Ken Griffin, billionaire hedge fund manager, saying “The money is a byproduct of a passionate endeavor.” Stream the Lil Wayne documentary (recommended), and you get to watch The Best Rapper Alive alienate his friends and family while working and staying intoxicated non-stop. Wayne seems totally non-functional outside of music, but his singular focus on greatness seems to be as a conscious choice. #tradeoffs #IgnoreAtYourPeril0 plays
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Be it resolved: all 2011 music heartthrobs must have chest tattoos! Quebecois status preferred but not required. (SF is warping my brain!)0 plays
Profile
Experience
- Sept 2010 - PresentAccount Manager / TellApart
- Aug 2009 - PresentPlatform Product Manager / Varick Media Management
- Sept 2007 - PresentSenior Associate / Mindshare Interaction
- Jun 2006 - PresentIntern / Mindshare Interaction
- Feb 2005 - PresentIntern / Mimeo.com
Education
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2003 - 2007Columbia University in the City of New York
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1999 - 2003Regis High School
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