Thursday, November 23, 2017

On the Other Side of The Great Firewall

This week sees the publication of the 7th in a series of 7 reports I penned on international media markets, and this one focuses on China. With its population of 1.4 billion China is, in many ways, a market unto itself. Yet what happens in China is increasingly affecting the rest of the world, despite the country’s protected media and tech markets. 

What do those markets look like?

While much of the world doesn’t go a day without using Facebook, Google, or Amazon, in China the ‘Big 3’ are Baidu, Alibaba, and Tencent. They operate on the other side of what is called The Great Firewall, the country’s censorship system that controls the inflows and outflows of information and services online.

China’s Big 3 tech companies serve close to a billion users with messaging apps, social networks, information and entertainment content, and eCommerce services.

                                                 

When we think about anything to do with China it’s also important to also think about scale. 1.4 billion is really a lot of people. Consequently, most of the numbers we’re accustomed to conceiving of pale in comparison to those that come out of China. For example, China’s version of Black Friday, called Singles Day, makes the US’s look like a flea market. This year revenues from Singles Day were $25 billion in online sales for Alibaba, an increase of 40% from last year. Compare this figure with the juggernaut that is Amazon. There’s no question that Amazon is eCommerce royalty, but their annual sales in 2016 were $136 billion. Alibaba’s were $485 billion.

The country also now has as many mobile phone users as it has people, with Chinese manufacturers such as ZTE, Huawei, and Xiaomi able to mass produce smartphones using low cost local labour.

                                               

This revolution in low end, low cost smartphones is now being brought to the world of high tech hardware, with 200+ companies in China producing sophisticated handsets, headsets, and terminals for VR and AR, for use everywhere from medical facilities to museums, schools, and retail environments.

The full report on the media, tech, and entertainment industries in China can be found herewith sections also devoted to gaming, television, and documentary, one of the fastest growing industries in China's media sector.

Friday, November 17, 2017

Beyond Bollywood: The media and tech industries in India in 2017

It has one of the fastest growing economies on the planet and one of the world’s top tech hub ecosystems, despite internet penetration of just 35%.

It is also home to Bollywood, the massive national movie industry that outguns Hollywood with its thousand plus films produced per year...but not in revenue, as the video below explains.


                                                 


We’re talking about India, a country of 1.5 billion people, and it’s the focus of the latest in a series of reports I penned on the media and tech industries in select international markets.

Some fast facts, and a couple of riddles about the current state of the media and technology industries in India:

· There are about 850 television channels, reaching about 500 million people

· Almost half of the country’s 700 million mobile phones are internet-enabled  

· Netflix doesn’t dominate in streaming video

· Amazon isn’t the leader in eCommerce

To learn more about the distinct media and tech markets of India -- and to find out the answers to the above riddles – you can read the full report here.

Tuesday, November 7, 2017

The State of the Media Industry in Mexico

As the chill sets in for the beginning of Winter 2017 the time couldn’t be better for some warm weather content, and here you go, in the form of a report I penned on the media, tech, and entertainment industries of Mexico that’s being released to coincide with this week’s Los Cabos International Film Festival.

                                                          

Am I there? Nope. (Although I did once interview Sammy Hagar on location at his Cabo Wabo Cantina  so I’m not short on Cabo stories.) But back to the topic at hand.

When we think of media in Mexico we may think of shows like this...

                                                         

Of course there’s a lot more to the Mexican industry, particularly in the wake of mobile technologies shaking up a media landscape once monopolized by single players enjoying as much as 2/3 of both the Pay TV and broadcast TV markets.

Mexico has traditionally been a country with low internet penetration, due largely to the weak infrastructure for fixed broadband. On top of that, broadband internet was, until governmental reform in 2013, only available to those who purchased a package that also included a landline, and the price point was well out of reach for most in the country.

But hope for greater connectivity came, as it has in many emerging markets, with the the widescale arrival of mobile. It offered a workaround to the costlier, often difficult to access fixed communication networks, and as of 2017 Mexico has 110 mobile users, which represents 90% mobile penetration. The popularity of mobile in Mexico is also relevant to the size of the country’s gaming market. It’s the largest in Latin American, valued at about $1.5 billion, and close to half of the revenues come from mobile gaming. Mexico also has one of the world’s highest rates of YouTube consumption, at 4 billion video views per month.

One thing we haven’t yet discussed about the media industry in Mexico is kind of the elephant in the room, so let’s do that now. Piracy. According to some estimates as many as 90% of DVDs sold in Mexico are pirated copies. Massive markets like Mexico City’s Tepito and Guadalajara’s San Juan de Dios have been key distribution points for counterfeit goods. Despite being in full public view officials turned a blind eye for decades, only occasionally bringing out the front-end loader as one way of dealing with the issue, as seen about a minute into this clip.

                                                     

More recently, digital piracy has become a more urgent issue, though the arrival of a variety of ‘all you can eat’ streaming services for TV and movies has decreased the incidence of illegal downloading. Netflix has about 50% of the streaming market in Mexico, with competition coming from other American-owned services such as HBO Go and Amazon Prime as well as local providers Blim (owned by media conglomerate Televisa) and Claro Video, a division of telco America Movil.

For more on the state of the media industry of Mexico in 2017 click here for the full report.

Friday, November 3, 2017

The Industry of YouTube: A 2017 Snapshot

Going back to the earliest days of this blog, now close to 5 years ago, I have been fascinated by the new opportunities for creators to go direct to fan, using what has become for most people everyday networked technologies. Instead of going the institutional route of music labels, book publishers, and movie studios, open platforms have been made available for the publishing and distribution of music, video, writing, and even the funding of projects, by people you may not even know. What this means is that there's more than one way to get from A to B, and more than one definition of success.

And what we've seen is thousands of micro-celebrities born on platforms such as YouTube, SoundCloud, Instagram, Wattpad, and Vine (remember Vine?) At the same time, the initial wide-eyed optimism for a brave new world of a disintermediated entertainment industry has been replaced for some with a jaundiced view of an internet ecosystem made up of a small handful of overlords calling the shots.

Meet the new boss, same as the old boss? Not exactly. There are those who have finessed the new system, often through trial and error, and built careers for themselves that otherwise could not have existed. And still others who have adapted to today’s world of content abundance vs. yesterday’s world of content scarcity, figuring out how to make money when most people want most things for free most of the time. You might think of these folks as 'Who-Tubers' (did I coin that?), celebrities of the small screen of no great consequence, but then the joke would be on you, because they're carving out a new version of a career path in the media and entertainment industries.

But how? As with much of what happens online, what often starts out as a crazy idea (e.g. strangers sleeping in your home when you're not there) can turn into a bona fide industry. And this is what has happened in the case of YouTube and the millions regularly uploading to the site, of which a small percentage become the media professionals of a parallel world.

To learn about the state of YouTubing, from the points of view of both creators and the advertisers that make the flow of money into their bank accounts possible, I headed to the 5th annual Buffer Festival, an international get together of the YouTube community held each fall in Toronto.

Another lanyard for the collection
A very organized industry event

I filed two stories from Buffer Festival 2017, and if you got this far into the post you may be interested in having a look at them:

Tube Life: How YouTube Creators Make a Living in an Increasingly Crowded Space

What Brands and Advertisers Have Learned from YouTubers

                             
An assortment of YouTubers breaking it down at Buffer Festival 2017

Thursday, October 26, 2017

Where a mobile phone is easier to get than electricity and Big Brother is the most watched TV show

The fourth in a series of 7 reports I wrote on international media markets was released this week, this one focusing on select markets in English and Francophone Africa.

The publication of this report coincides with Discop, the trade show being held right now in Johannesburg, billed as “the world’s number one destination to acquire and co-produce content 'Made in Africa' and sell international film, television and digital content, adaptation rights and packaged TV channels into Sub-Saharan Africa.”

But what do we know about the media and technology landscape in Africa? Probably not a lot, which is a big part of why these reports were commissioned. Let’s start by taking a closer look at some key issues related to infrastructure and demographics in Africa:
  • The African continent is the fastest-growing market in the world for mobile phones, and though most on the continent use mobile devices to access the internet, rates of internet penetration vary greatly from one country to the next.
  • Is Africa and ‘internet first’ market? Yes and No.
    • Internet penetration on the continent ranges from about 80% for Kenya to around 50% for Morocco and Nigeria and 2 to 5% for countries such as Burundi, Niger, and Sierra Leone
    • Cote d’Ivoire and Senegal report mobile internet penetration of over 100%, meaning there are more phones than people
But before we get too carried thinking mobile connectivity will bring the 1.2 billion people of Africa into the world of digital content, it’s worth noting that over 600 million people in Sub-Saharan Africa alone lack access to electricity, making the present, not the future, extremely unevenly distributed on
this continent expected to double in size to 2.5 billion by 2040.

What about language distribution in Africa? 

Source: http://www.nationsonline.org/oneworld/african_languages.htm


  • Two dozen African countries have English as one of their official languages.

But here's the big startling statistic: It is estimated that number of French speakers in the world will reach 700 million 2050, of which 80% are anticipated to be in Africa.

In terms of broadcast media, TV content in most African countries is a mix of programming produced regionally, foreign movies, and localized versions of reality TV franchises known around the world. Switch on a TV in Africa and chances are you’ll find shows such as Big Brother Africa and The Voice Africa in prime time alongside an assortment of regionally produced soap operas and talk shows.


To read the full report on Africa's media and entertainment landscape in 2017 click here.

Monday, October 16, 2017

It’s home to the world’s fastest Internet, Eating Videos, and Gangnam Style

“What is South Korea, Alex?”

If you were standing behind a podium on Jeopardy and uttered those words you’d be hearing the happy ding ding ding of a question correctly answered.

The 3rd in a series of 7 reports I penned on media in global markets has now been released, and the fun end of the Korean peninsula is the focus.

Source: http://www.mapsnworld.com/south-korea/where-is-south-korea.html

The country of 50 million is a high tech haven, for everything from the world’s largest manufacturer of mobile devices to leading edge virtual reality and augmented reality to what’s known as Hallyu, or the Korean Wave of popular culture. These Korean TV shows, films, and pop music first swept across Asia in the 1990s and in more recent years became part of the country's export cargo to the rest of the world. For most of us it came to our attention with Gangnam Style in 2012 but there’s a lot more to it than that.

South Korea is also a top exporter to the world of television formats such as Genius Game


...and twists on conventional cooking shows that combine elements of talk shows, drama, game shows, or travel shows are also a popular genre in Korea, and are often licensed for localization abroad. In other words there’s a good chance that your favourite crazy cooking competition show
originated in Seoul.

Perhaps most bizarre, to us Westerners at least, is the phenomenon known as Mukbang, or eating videos. These half hour videos feature people, usually in their bedroom or kitchen, grilling and eating things like meat dishes, soups, noodles, and dumplings. Doesn’t sound particularly exciting? I hear you. Yet videos like this one regularly net millions of views. Why? Because Internet.


South Korea’s dramas are also enormously popular outside of the country’s own borders. Descendants of the Sun, a romantic drama available in China on the iQiyi video streaming platform, pulled in close to 2 billion views as of early 2017. 


The exporting of popular culture, not unlike the country’s heavy investments in R&D programs and its technology infrastructure, has been carefully planned and promoted by the South Korean government for the last 20 years or so. Billions in public funds have been put into the country’s media and entertainment industries as part of the the official Hallyu program. And how has that worked out? By one estimate South Korea’s annual revenues from pop culture exports now exceed $5 billion.

For the full report on the media and entertainment industries in South Korea in 2017 click here.

Monday, September 25, 2017

What's going on in the media industries in South Africa and South America you ask?

Okay maybe you didn't ask, but I'll tell you anyway. Why? Because I spent my summer, and quite happily I might add, working on a series of reports on the media and entertainment industries of seven different international markets. Two have been released so far: South Africa and South America, and five more are coming this fall: China, India, South Korea, Mexico, and Select English and French Markets in Africa. (Ed. Note: If only frequent flyer points were part of the deal)

Despite being a pretty digital person I still usually take my interview notes by hand 

A few highlights from the reports. First South Africa. You may know it for dramatic wildlife documentaries or the place that the mystery of 60s protest singer Sixto Rodriguez was solved in the 2012 documentary Searching for Sugarman. But today there's a booming film and TV industry there, even though they didn't have TV until the 1970s and never had cable. Now South Africa is home to studio facilities that rival those of North America and Europe, which brings international media production to cities such as Johannesburg, Durban, and Cape Town. A recent one is the mini-series The Indian Detective, starring Canadian comedian Russell Peters, produced for broadcast in Canada and to be shown on Netflix in South Africa.

And what about South America on the world stage? Perhaps nothing speaks more to the global appeal of Latin American culture than the recent crowning of Despacito as the most watched video on YouTube, and the first to reach 3 billion views. (Let's see if we can add a few more to its current 3.8 billion views by embedding it below).


And yes, I realize that the song is the work of Puerto Rican artist Luis Fonsi, who is obviously not from South America, but it's the jam that started the Latin music revolution currently underway, largely thanks to on demand listening and viewing on Spotify and YouTube. This summer Billboard reported that right after Despacito broke the record for most viewed video on YouTube there were four Spanish language videos in its Top 10 and 27 in its top 100. The latest Latin American sonic explosion Mi Gente is approaching 900 million views at the time of this writing by the way.

But back to the South American report. It focuses on four countries -- Argentina, Brazil, Chile, and Colombia -- which together represent approximately ¾ of the South American continent’s population and the majority of its economic activity. In terms of the media industries a lot of that economy activity came from telenovelas, those melodramatic TV serials reportedly enjoyed by viewers from 8 to 80. Thanks to the globalizing power of Netflix classic telenovelas such as Rebelde, La Usurpadora, and La Reina del Sur have become part of the binge viewing fare of audiences around the world, and have led to a new generation of telenovela-inspired shows such as Narcos, Club de Cuervos, and Ingobernable.


                                 
To learn more about the state of the media and entertainment industries in South Africa and South America you can access the full reports online. Click here for the report on South Africa and here for the report on South America.

Thursday, August 31, 2017

The Variety Store That Maybe Isn't



It was one of those places I’d walked past at least a hundred times en route to my favourite tragic east end mall (which just happens to have one of the best dollar stores going). It was called Rayman’s Variety, and according to the sign it specialized in West Indian and African groceries and cosmetic products. It was stuffed to the rafters with boxes and bottles and, well, how do I put this, from the looks of things inventory didn’t exactly turn over quickly. Then one day I looked in and things had changed. But only kind of. The sign was still there, the rusty bars on the windows were still there, but about 98% of the stock had been removed. The tired old walls and floors had been ripped out, but it wasn’t exactly clear what was going on, though something clearly was. Or more like unclearly.

In the weeks that followed I noticed some handwritten signage. It said ‘940 Variety’. 940 was the address on Gerrard Street East and ‘variety’ suggested it was continuing in its convenience store tradition, but in what appeared to be a more customer friendly incarnation.


Earlier this week I was walking by and noticed that the door was open so I walked in. Inside I truly found variety: chips, cold drinks, used records and books, a rack with new clothes, and coffee being sold for $1 a cup. But this wasn’t just one more example of an old place being hipsterized. It wasn’t that straightforward.


There was only one person in the store, and he wasn’t a customer. He was a guy in the midst of some store-related carpentry. I said hi and complimented him on the renewed interior. He seemed like a friendly guy who was open to some conversation so I went with that. I asked him how things were going at the store. He said things were a work in progress. He pointed at the racks of chips and said that they weren’t really making their money on those. Not a big surprise there. He pointed to the opposite wall and said they’d recently added used records and books to their wares.


This was a guy who clearly goes with a flow, as opposed to a plan. And I mean that in the best possible way. He then told me about his idea to do a version of the Tiny Desk concerts, which are exactly what they sound like; i.e. concerts done behind a tiny desk that feature artists ranging from up and comers to stars such as Chance The Rapper and Adele.



His would be tiny counter concerts instead, and he showed me where the singer would be and then pointed to another area where the rest of the band would be located.I asked him about the back area he was pointing to, as it was still being worked on. He told me about some of his plans for fixing it up. He said they had already done a few shows and social events on the premises -- with the appropriate liquor licenses and approvals of course – and said that maybe that would be the way forward for 940.

I was reminded of one of the coolest places I’d ever seen, which was a secret high end sneaker shop in downtown Boston. But this one didn’t advertise, or even have a sign. You had to know where it was, because it was hidden behind an unmarked storefront that was stocked with faded paper towel packages and cleaning supplies. One of those places you would only pick up in your peripheral vision, if at all. But if you knew someone who was in the know you could find out where this place was. But that wasn’t enough. You then had to know where the magical door was, the one that led you to a secret world of sneakerhead riches.


I told the proprietor of 940 about it and he seemed sincerely intrigued. He even had a bit of a twinkle in his eye as he mulled the possibilities. What struck me was how open he was to possibilities. I mean, how many people sign a lease on a retail space and then essentially run a series of experiments, to see what works. It may sound crazy, but it’s the brick and mortar version of the pivot of the startup world. When something doesn’t work in the tech world it’s not seen as a failure, but as an opportunity to correct one’s course. Provided that the pivot is executed quickly enough. It’s all part of the break things, fail fast mindset of entrepreneurs. Failing fast, as has been pointed out, isn’t about the big issues, it’s about the little ones. It acknowledges that there are many dials in front of you and that you will be tweaking them for a while before things click into gear.


Before leaving 940 Variety I asked the proprietor-carpenter it would be okay if I took a few pictures and he said by all means (those are the ones you see here). Then I told him that the next time I’m there I fully expect to be able to press on the cold beverage case at the back and marvel as it becomes the portal to an as of yet not figured out universe. Or something else entirely.

Thursday, August 10, 2017

How big a business is podcasting?

“We started doing this because too many people thought Toronto hip hop started with Drake”. The ‘this’ in the preceding sentence is the “Views Before the 6” podcast, and the ‘we’ are Big Tweeze aka Anthony Corsi and Thrust aka Chris France, a rapper perhaps best known, to Canadian hip hop historians at least, for his shouted out role in the ‘Northern Touch’ video.  


Tweeze and Thrust were part of a panel called The Business of Podcasting, held recently at Toronto’s Ryerson University. They were among the podcasters talking that night about plying their trade online and seeing where it goes. Despite the title of the event, podcasting is a business for very few. Yes, there is an increasingly brisk business in podcasting in the genre of sponsored, or branded content, but this blog post is looking at the experience of podcasting from the point of view of individual creators not directly affiliated with individual brands.

Podcast panel participants L to R:
Gina Kennedy, Anthony Corsi, Thrust, Lindsay Bess

Those assembled for the panel talked with great passion and enthusiasm for their podcast projects. When asked about how many downloads they get no one was coy. The answers were illuminating: from a few dozen to a few hundred. But it's still pretty early days for these creators. At this level it's obviously not a business, but as panelist Gina Kennedy, host of the Radio Somewhere podcast put it: "it's not a job, it's a lifestyle". Still, the trick with so many digital content efforts is to find, and to speak to, the underserved niche audience and see how far you can take things. (Ed. Note: Though there's variation across genres and topics, a rule of thumb is that advertisers like to see about 20,000 monthly downloads per episode in order to consider putting money into your podcast.)

As pointed out during the panel, in many cities radio never picked up on hip hop, even though the audience grew and grew. As a genre, hip hop is anything but ‘brand safe’, i.e. where major advertisers want to be, so the match between hip hop and mass media like radio and TV was destined to be weak. And this is why, from outside the traditional industries, YouTube channels, blogs, and podcasts emerged to serve the hundreds of millions of hip hop fans around the globe, a number of which are operating as profitable businesses. The audience and the demand was too big to be ignored, and in a reversal of the usual processes of 'getting on the air', the creators made the shows, posted them online without the involvement or approval of the usual gatekeepers, the audiences followed and told their friends, and the advertisers came in at the end of the cycle.

Even though as a technology, podcasting has been around for over 14 years, as detailed in this blog post, it is still early days in terms of the development of podcasting as an industry. We tend to think that once a technology is introduced and gets popular then dollars start to flow. The truth of the matter is that it takes a whole lot of infrastructure development until that starts to happen; from reliable metrics, to user-friendly apps to content networks and advertising networks...and we’re only now starting to get there.

So how big is podcasting as both a medium and a market? Last year there were about 30 million minutes of podcasting produced, and as a market it is currently valued at about $200 million. This value is determined by the amount of advertising dollars the medium attracted. Sounds like a lot, doesn’t it? But a number is only big or small compared to other numbers, so let’s look at another number, in this case the value of the radio market in 2017. Over $32 billion. But podcasting’s piece of the pie is only going to get bigger, and radio’s is going to get smaller. It will take several years, and a bunch of new software and hardware developments, like making it easier to listen to podcasts in cars, but it will happen. 

For more on the State of Podcasting in 2017, see this Fact Sheet from the good people at Pew Research.
And for a statistically-based take on the question "Will radio kill the internet star?" click here.

Wednesday, July 12, 2017

When Data Attacks

One way of thinking about the Internet is as a giant matching machine. You have a question, it finds you an answer. You want a flight, it finds you a good deal. You want a date, it can find that for you too. Lots of them in fact.

But is this the whole story? Not exactly.

A fairly simple problem/solution scenario is how things worked in the days of Web 1.0, a pre-data collection web that hadn’t yet developed, let alone mastered, micro-targeting by such attributes as demographics, psychographics, and location. And before you cry “surveillance!” bear in mind that it is the advertising-supported, data slicing and dicing web that brings so much to all of us each day in the form of news, entertainment, and productivity tools. Not to mention that the systems that optimize marketing done online also help filter out that which could be called ‘noise’; i.e. if I don’t have kids I won’t get daycare ads on Facebook, if I don’t have a dog or a cat I won’t get coupons for kibble popping up alongside YouTube videos I watch.

Is this all for the better? As with many things, it depends how you look at it, and it depends who you ask. If you ask mathematician Cathy O’Neil, author of Weapons of Math Destruction, the answer would be no.


At a recent talk held at Microsoft Research O’Neil began by describing what an algorithm is. “It’s something we build to make a prediction about the future…and it assumes that things that happened in the past will happen again in the future.”  O’Neil explained that algorithms use things such as decision trees, which contain if/then and yes/no statements and then use historical information, pattern matching, and machine learning to build models that can make thousands to millions of predictions, and can do so in a fraction of the time of a human being with a calculator and a scratch pad. 

So what’s not to like? The problem is, according to O’Neil, that the agenda of the algorithm is decided by the builder of the algorithm. What goes into the algorithm is, necessarily ‘curated’, and when some variables are selected while others are left out, then a value system is embedded in the algorithm.

These value systems in turn can affect decisions now made by machines that used to be made by humans, such as hiring, credit worthiness, professional evaluation, and insurance eligibility. Researchers, including O'Neil herself, have attempted to find out the rules that inhabit some of these algorithms, using Freedom of Information requests, but according to O'Neil many such requests have not been successful. Furthermore, many of the data-driven systems responsible for making millions of decisions are built on proprietary, or 'black box' software architectures, that are extremely difficult to reverse engineer.

But let's bring things back to how data interfaces with you in your daily life. If you’ve ever wondered, for example, why you often spend a half hour on hold when you call customer support and your friends say they get through right away the explanation may be more than “we’re experiencing larger than normal call volumes.” Maybe they are, but maybe, as O’Neil points out, it's something else. She cites the example of how it is a common practice for customer service lines to pre-determine if you’re a high value customer or a low value customer based on the purchase and credit information cross-referenced with your phone number. And, well, you can figure out who gets put through to a real live human operator and who has to listen to extended musical accompaniments of flutes and vibraphones.


O’Neil calls such processes “systematic filtering”, and is concerned that machine learning, a key component of artificial intelligence -- which is said to be the next revolution in computing -- “automates the status quo” and in turn creates “pernicious feedback loops” that not only trap people in the biases of the past but also magnify those biases as machine learning is itself based on recursive loops and neural networks.

This was not and is not the intention of any such systems of course. The point of deploying data, at scale, is to build models at a speed and complexity that far exceeds the capability of humans. As with any technological innovation, there exist unintended consequences, and the decisions made by data-driven systems are no different.

For an overview of Cathy O'Neil's book "Weapons of Math Destruction" click here.

This post also appears, in a slightly revised version, on the blog of the American Marketing Association, Toronto Chapter.

Tuesday, June 20, 2017

Airport raccoons, Ikea monkeys, and 'matter out of place'

Anthropologist Mary Douglas wrote on the concepts of purity and danger in the mid 1960s, creating a framework through which various cultures arrive at categorizations of things that belong and things that do not, of things that are deemed to be dangerous, and things that some think of as 'taboo', while others do not. In other words, one person's threat is another person's meh/not so much.

Douglas' idea that dirt can be best understood as matter out of place, or, something relative to one's environment and attitude about it, is also helpful when thinking about the viral videos which cascade upon us daily in our Facebook newsfeed and our Twitter tweet streams. A monkey in the jungle, not a surprise. A monkey in a shearling coat in an Ikea, well, pretty alarming.


When our expectations are defied in such a manner we now have a way to express our emotional responses --  delight, shock, horror -- whatever they may be, by hitting the forward, share, retweet, or post buttons on social media platforms.

Last month at Toronto's Pearson airport there was another 'matter out of place' incident that caught the attention of the Internet: the airport raccoon.
     
   


The video was taken by an accounting professor who, being analytically minded, was interested not just in a misplaced raccoon but in the mechanisms of how things spread online. I got in touch with Prof. Graham to deconstruct his experience of somewhere between 24 and 48 hours of Internet stardom and the full story can be found here.


Sunday, June 4, 2017

Your call is important to us

They are the face of multinational corporations, particularly airlines, banks, and credit card companies. They are the call centres, usually of the third world, where scripts tell the person on the other end of the line to reassure us with phrases such as “certainly” and “not a problem”, even though we, usually dialling from the comfort of our kitchens, know darn well there’s a problem, otherwise we wouldn’t be on the line with them in the first place.


“Call centre workers are the emblematic workers of the digital economy”, said Ursula Huws, Professor of Labour and Globalization at University of Hertfordshire. “They sit at the interface of the digital and the real, and at a place of tension, because people only contact call centres when something has gone wrong. And yet, they are, paradoxically, the public face of the company, where a standardized script sits in for customer service.”

The occasion for the consideration of life behind the 1-800 number was a book launch for Enda Brophy's “Language Put To Work: The Making of the Global Call Centre Workforce”. “I did the project to get away from the binary view of one of the world’s fastest growing professions”, revealed Brophy. On the one hand we have the modern, digitally connected information worker, and on the other we have the exploited outsourced labourer. “So I looked at the call centre from below, from the point of view of the worker”, said Brophy, referencing the work of historian of the British working classes E.P. Thompson.

A cornerstone of the outsourcing industry, in which business functions that don’t necessarily need to be conducted in Western countries are effectively sent overseas, the global call centre industry is a juggernaut with a value approaching $10 billion annually. Terms such as 'cyber proletariat', 'digital capitalism', and 'immaterial labour' have been used to described the provision of offshore workforces for functions such as customer service, billing, and assorted back office duties.

Call centres have traditionally been associated with Indian cities such as Delhi, Bangalore, Chandigarh, and Hyderabad, where a parallel industry of accent reduction and ‘call centre English’ has sprouted up. On top of learning how to twist vowels and phrases so they are more mellifluous to American ears, call centre workers also strive to pass as Westerners by taking on Anglicized names such as Robin, Karen, and Shawn. But not everything goes smoothly in the headsetted life of the cubicle farm. As part of his history of call centres from the bottom up Brophy also documented worker resistance, whether in the form of casual slacking or more organized activism.


For a more in depth look at the life of arguably today’s quintessential globalized worker, the call centre operator, you can check out these two documentaries, one on the call centres of India, the other on the call centres of The Philippines, the new capital of outsourced customer service.



Wednesday, May 17, 2017

Inside the shift to Streaming TV

Chances are you're not watching television the way you used to. And why would you. Freed from the constraints of broadcast schedules, once-per-week episodes, and the relative safeness of network television fare, you can instead spend hours inside the YouTube rabbit hole, exploring whatever it is that catches your fancy, and the random places that fancy leads you. Alternately you can grab a large bag of kale chips and settle in for multiple episodes of the show du jour on Netflix, Hulu, and Amazon.

The industry is in the midst of a massive shift, one considered in great detail at a conference held recently at Boston University entitled "Streaming, Binge-Watching & Second Screening". 


Industry executives, academics, and analysts gathered for two days in what can only be described as a majestic room to discuss the technical, behavioural, and creative changes that mark the transition to digital, on-demand television.

The conference HQ at Boston University's
 aptly named "The Castle"

Click here to read the full blog post on the many ramifications of the shift to the streaming TV environment.


Monday, May 8, 2017

The post money marketplace?

A few days ago I tweeted about a new project in which I'm participating. It's called the Artisanal Economies Project (AEP) and its mission is to formulate points of view and perspectives on the burgeoning marketplace of handmade products and the non-traditional ways in which people and products connect. The AEP is still taking shape, with interviews and articles being posted on the just launched blog, so I would call the state of things active beta.  



Homepage of Artisanal Economies Project (AEP)

I contributed my first piece to the AEP blog this weekend. The following piece originally appeared here.


In parallel to the word of the handcrafted and whimsical things found on sites like Etsy and the small batch products found at farmer’s markets Team AEP notes this: the emergence of cashless commerce. This is one more refusal of retail as we once knew it -- the big and the branded, with complimentary 2 hour underground parking – and a new set of practices in its place.

Exhibits A and B -- Bunz and Secondhand Sunday -- come from my current hometown of Toronto.

You can trade, but you cannot buy at Bunz
Source: www.bunz.com


Neighbourhood Swap Event SecondHandSunday
Source: www.seconhandsunday.ca

Additional evidence of cashless commerce can be found in neighborhood swap & sell groups on Facebook, where people list things for sale (Ed. Note: sometimes at mind numbingly trivial prices such as two or three dollars, which makes me wonder ‘why even bother’), but there are also curb alerts (objects either intentionally left or abandoned curbside) and porch pickups of items ranging from the old standby Ikea Billy bookcase to blenders and toaster ovens, to boxes filled with books, magazines, and CDs.

But let’s get back to Bunz. There are apparently only 2 rules there: No cash is allowed and don’t be a jerk. You can’t buy anything on Bunz, but you can trade. A sample of current postings on Bunz in Toronto include mud masks, a plant with no name, and a never worn dress. And remember you can’t buy any of these things, you can only trade something for them. Sometimes the trade is specified, such as a bottle of beer, and sometimes it is up to the interested party to propose something agreed to be fungible.







While messaging with a friend this weekend I mentioned that I was working on a blog post about Bunz and he told me about a friend of his girlfriend who recently traded an unopened package of paper towels and a transit token for an unopened box of tea using the site. Note that the desired currency for the dress above is also the transit token.

In a profile of Bunz last fall written by Gerrit DeVynck for Bloomberg.com, it was described as “…a quirky mash-up of the classifieds vibe of Craigslist, the sociability of Meetup and the neighborliness of NextDoor.”

To ensure safety while swapping Bunz has set up trading zones at shops and cafes, which are identified by door stickers, such as the one seen below at Tandem, a café in my neighbourhood.

A certified Bunz Trading Zone in Corktown, Toronto

Bunz founder Emily Bitze started the site in the summer of 2013 and since that time various subgroups have popped up, e.g. for jobhunting and apartment hunting, along with sites for other Canadian cities and the first U.S. one for New York. An angel investor now backs the company, which most likely never planned on becoming a business, and there are now 8 full time employees at the HQ in Toronto, responsible for iOS and Android app development, marketing, and even artificial intelligence.

What appears to be going on here – whether on Bunz or with curb alerts or at events like Secondhand Sunday -- are new options for participating in the consumer society.

And while some may say the examples here provide further evidence of the death of retail, what’s more interesting is the birth of other forms of exchange. And yes there was always a market of secondhand goods, whether at rummage sales, flea markets, or Goodwill stores, but there are some key differences this time. Now we are finding an exchange of used goods without stigma or shame. Used goods that don’t say ‘I can’t afford the new version of this’.

And all this is happening in the midst of accusations of everything in our midst being soaked in ‘late capitalism’, in which things exist for the sole purpose of being commoditized. Instead we see here the opposite of the built in obsolescence of so many goods of the 20th century, and in their place we have object lifespans limited only by their ability to find someone who needs them.

What we appear to have here is a true sharing economy, unlike the ones put forward by AirBnB and Uber, which are really pretty straightforward transactional economies. If you don’t agree, try to pay your AirBnB host with unopened packages of paper towels or some transit tokens and see what happens.