SS Coachella -- A REVIEW of the Maiden Voyage to Bahamas

The inaugural SS Coachella is in the books.  The first run from Ft Lauderdale to Bahamas (and back again) is docked.  The hipsters have walked the plank (off the ship). 

My wife, Luisa, and I were two of those passengers.  Not saying we are hipsters (we have no tattoos or asymmetric haircuts after all).  But, we were two of those on this epic maiden journey.

I write this on my flight back from Miami to San Diego just a few hours after we left the ship.  My head is still groggy and a bit foggy from the continuous near 24-7 music and Red Bull-fueled concoctions on the ship.  But, my head is absolutely clear about one thing – i.e., that SS Coachella was one for the ages.  And, I want to get my thoughts down right now while the memories are still fresh in the head.  So, forgive the lack of organization in presenting them.

So, what was SS Coachella?  It was a music festival and life-time “experience” in every sense of the word.  Every best sense of the word.  Yes, SS Coachella is a business (more on that later), but the real fuel powering this maiden voyage was passion for music and passion for bringing the music to life in a never-before-seen package.  A new experience on the high seas.   Here’s my one word summary of the experience – EPIC!

I have attended several Coachellas.  Luisa hadn’t.  I love the crowds and energy.  Luisa doesn’t.  I love music (scratch that, am possessed by it).  Luisa isn’t (possessed).  So, when the good folks at Coachella announced its bold new SS Coachella experience (experiment), they had me at “hello” – I booked the cruise at moment one.   Luisa had no choice -- she knows my passion for music.  Nevermind the fact that neither of us had ever been on a cruise.  In fact, we don’t consider ourselves to be “cruise people."  But, we were in.

And, we have become cruise people -- at least, an SS Coachella cruise.

Here’s the thing – EVERYthing about SS Coachella was high end and epic.  That goes for the ship (the stunningly beautiful Celebrity Silhouette).  That goes for the food (I counted at least 15 restaurants, and I am sure I am missing some).  That goes for the libations (all top shelf).  That goes for the staging and special events (including a behind-the-scenes “making of” panel with the top brass that makes Coachella happen).  And, of course, that goes for the music.  If you like indie music (which I do) – and if you like world-class DJs (which I do) – then the music and the scene are about as good as it gets. 

Let’s start with the music.  I confess.  I didn’t “get” some of the choices (Pulp, as the headliner?).  But, it worked.  So, while I didn’t check out Pulp, most others did.   And, they raved.  My “must see” bands were Yeasayer and Warpaint.   Yeasayer played once (on the first night).  Warpaint played twice (on nights 2 and 3).  Those were great shows.  Yeasayer played the main stage.  Killed it.  Warpaint played the Sky Lounge – I was right in front for both shows.  Who knew the four female band members were so young.  Or, such great live musicians.  But, they were.  Warpaint impressed, hoodies and all.

Who else?  Grimes.  Predictably compelling and mysterious.  Good show.  Great environment.  How can you not love dancers in the fog.  Then there was Hot Chip on the last night (last night).  Great energy.  Great fun.  They turned the main stage into a dance party.  Sleigh Bells.  Wall of blistering sound.  Even if you aren't the biggest fan (which I'm not), was a good show with amped up energy.

There were the DJs, of course.  All throughout the ship.  Pool-side all day and night (Luisa and I didn’t even get off the ship in the Bahamas – why leave when we had the party right there on the ship?).  The DJs were on the top of the ship in the grass-y area – think of it as the mini polo fields of Coachella (yes, real grass up there -- real hanging out, but without the blistering desert heat).  In nooks and crannies all over the ship (even spinning as we first entered the ship on day 1 – classic).  As Luisa and I explored the pre-sunrise hours at 6:15 am this morning less than 2 hours before disembarking, we heard thumping beats emanating from the micro-encapsulated Neptune lounge – where DJ Alf Alpha was still spinning with one guy gyrating on the dance floor, one guy passed out on a couch, and a group of die-hard SS Coachella’ns (led by our personal favorite, Jared from Australia and his Go Pro-toting side-kick) just leaving for a pre-disembarkation post-party in “Room 7 double 2 7”) – yes, he asked us to join them in that room for the party (but by that point we were utterly exhausted -- that’s a compliment to the event)! 

And, that’s what the spirit of this entire voyage was like --  camaraderie forged by love of music.  Love of experiences.  Love of life.  Jared was classic.  So was the Go Pro guy.  You are on a ship after all, so you run into the same people again and again.  And that was a lot of the fun.  And, for every Jared, there were the two lifelong friends from Mexico who were inspired by the experience and vowed to devote their careers to passion projects (not just finance).  And, there was that couple who too happened to be from San Diego and just loved the music.  He left his job of 15 years just recently and is inspired to pursue music in some form.  We all sat in bars together – talking to each other – and to those around us (be it nice-guy DJ Juice, be it a Coachella (all the top execs were there), be it anyone else).  On this ship – on this voyage – we all just “were” together.   And all of us felt fortunate to be together.  THAT was the coolest part of the whole thing.  Each of us was an actor in this grand production.  Some more colorful than others (literally – tattoos and dyed hair everywhere).  But, all fans.   The water surrounded us on the ship.  But, we were immersed in the music!  Everywhere we went – every hour of the day – indie/dance music was playing.  For a guy like me, that’s what heaven sounds like.

SS Coachella also marked a grand social experiment for this ship full of twenty and thirty-something hipsters (I was on the upper end of the full spectrum).  For three nights and two full days, we essentially had no contact with the outside world.  No cell coverage.  No wi-fi (unless you paid through the nose for it in the “i-Lounge”, which virtually no one did).  Remember, we were in open waters – no cell towers out there.  There was no looking down on your smart phone at all during this voyage. 

Instead, we engaged actually … not virtually.  We looked heads up at each other … not with our heads down.  We talked.  We met.  We shared our favorite bands.  We shared anecdotes.  We lived in the moment.  We lived the experience.  It was beautiful.  I can’t even recall ever doing this before in the past 15 years – is it even possible to truly tune out anymore?   This was almost tribal.  One tribe of connected people sharing a love for the music.  I hope that part of SS Coachella never changes.   You don’t need an app for that!

Back to the ship.  Celebrity Cruises, you shocked the hell out of me.  The Silhouette is a stunning ship.  Slick.  Cool.  Clean.  Spotless.  Meticulous attention to detail.  Think of it as a “W” Hotel on the high seas.  It was that good.  I can’t imagine a cruise ship besting this one.  And, I certainly can’t imagine a better setting for taking Coachella on a cruise in the middle of the Caribbean.   Well done SS Coachella team!  I could go on and on – but just check out some of the pics I will add to this post later – that is the best way to get an idea.  But, even these pics don’t do the boat justice.  You must experience it.

Back to the food and drink.  Endless.  And, here’s shocker #2 – as I mentioned above, the food and drink were all high end.  For many on this cruise (well, virtually everyone), booze was a priority.  All top shelf.  And plentiful.  Bars were located everywhere on this ship – literally everywhere. 

But, at a certain point, even the most rail-thin hipster must eat,.  Music feeds the soul, but the stomach also craves.  So, eat we did.  Again, I cannot even begin to do the food justice by trying to describe it here.  For me, the gastro-highlights were these – endless varieties of food.  Essentially whatever you wanted, whenever you wanted it.  Highlight 2 -- I am a steak guy.  So, on night 1 Luisa and I tried the steak house on the upper deck adjacent to the mini Coachella grass polo field.  I know, a dangerous move to order steak on a ship.  What are the odds that it could be good?  Odds were, but the execution wasn’t.  One of the best steaks I have had for a long long time.  And to dispel the notion that this was an aberration, Luisa and I made a return engagement on night 3 where I had not 1, not 2 but … somewhat disgustingly … 3 filets.  All perfect.  All that matched the quality of the first I experienced on night 1.

How about the ship’s crew?  Always professional.  Always courteous.  Always helpful.  Always wanting to give more.  Hard working people.  Not an easy life, but they did it well.  Again, kudos to Celebrity Cruises – and thanks to the largely Eastern European staff (which was especially endearing to me, since I am Eastern European).  It was clear that most of the staff were in a persistent state of bemusement throughout the voyage, understandably.  This was not quite the usual crowd for them.  The music was louder (much).  The drinking was plentiful (apparently the per capita consumption broke records).  The average age was younger (significantly).  And the hipster quotient was off the charts.  This was not your father’s cruise experience.  This was rock and roll after all baby – and the crew clearly loved it.

Finally, a shout-out to the Coachella folks.  Those whom I met followed the same themes already mentioned.  They love music.  They love to create experiences.  And, they loved to create an entirely new kind of experience that pleased all of us.  That really does matter to them.  Of course they need to run a business.  AEG is behind it after all.  Expectations are high.  But, the good folks behind Coachella (and now SS Coachella) know that the experience first must be unlike no other and at the highest levels.  All else flows from that.  If they invest to do it right now (which they did), it will pay dividends.

But, these things also take time.  And, these folks know that better than anyone else.  Coachella itself took years to turn a profit – but look at it now.  It is a juggernaut.  SS Coachella is clearly starting in the same way its established cousin did.  High ambition and execution not yet matched by the attendance it deserves.  The word I heard is that the ship was about 50-60% of capacity.  For those of us attending, it was the perfect storm – all of the benefits discussed above and in setting in which we had plenty of room to breath.  We all loved it.  But, the bean counters at AEG may not … unless, again, they take a breath and understand what this is and the need to invest in it to make it truly lasting.

This thing – this SS Coachella – is a different animal than Coachella itself.  Coachella is massive, sweaty endurance test of music that is accessible (price-wise) to many.  It is an amazing experience itself, it is jus plain different.  SS Coachella, on the other hand, is of course significantly pricier – and, accordingly, it is more exclusive.  SS Coachella will build and succeed via word of mouth.  If given the chance to grow, SS Coachella will grow and succeed not only experientially, but also as a business. 

And, I can tell you this.  This writer – and his wife – will rave about this experience to everyone we know.  We already have as soon as we got off the ship.  We are already planning to go next year if SS Coachella will have us – and we will bring friends.  Most likely we will be joined by several.  And, that’s because the experience was unlike no other.  It was unforgettable.  It was something I will never forget.  For a music fan, it was like being in heaven … seriously.

So, AEG – the powerful word of mouth is there.  We are already talking up next year’s cruise.  Give SS Coachella the patience to grow, and it will.  And, it will become an operational success and highly profitable endeavor.  It will also further propagate the Coachella brand.  Take it into new waters, if you will.

Were there some mis-steps on this first SS Coachella?  Of course there were.   Any ambitious new project is a learning experience.  For me, the only real disappointment was that there was absolutely no official SS Coachella merchandise on the ship.  No SS Coachella t-shirts, hats, tote bags that we could bring home for ourselves or as gifts to friends and our kids.  Not only would those have been lifelong mementos of this classic slice of time, but they also would have amplified the buzz about SS Coachella.  After all, wearing a tshirt or hat is great and powerful advertising.

And, a couple more things -- first, several people (including me) felt that some of the band sets should have been outdoors (all were indoors).  It would have been great to hear some sets during the day either on the pool deck or on the top of the ship on the lawn.  I also would have liked to have seen a few "afternoon"/up-tempo vibe-y bands -- here are some ideas -- AWOLNATION, Givers, Vampire Weekend, Matisyahu.  I would have even liked to have seen a band like Beach House play because -- well -- the name fits.

But, the missteps were few and far between.  In fact, the whole ship operated like a well-oiled machine (at least, from what we could see).

SS Coachella – amazing time.  Amazing experience.  Was very very cool to be part of the very first one.  For those of us on it, we all felt that way – you could really tell.

I envy those now on the second leg to Jamaica.  They are on the top deck now sitting in the oversized Adirondack Chairs listening to killer beats.

Count us in for next year.  We are already spreading the word.

This is a voyage that most certainly deserves to sail again 

Am On SS Coachella Today -- Posts Coming Via Message In A Bottle

I am writing this in advance of today -- because today I will be on the inaugural SS Coachella cruise, cruising to the Bahamas from Ft. Lauderdale.  Have never been on a cruise before, but have been to Coachella many many times.  So, when the good folks at AEG announced SS Coachella, they had me at "hello."  And, my wife, Luisa, and I met 20 years ago, so this is also an impromptu anniversary of sorts.

But, mostly it is about the music.  And, for the love of the game.

There is essentially no connectivity while I am on the high seas.  So, my reports will come when they come.

But, I do know this.  As you are reading this, I am readying myself for another magical day of music.

Today's line-up (Monday, December 17) includes Warpaint, Cloud Nothings, Sleigh Bells and a slew of DJs.  By the time you read this, I will have already experienced my personal favorite on this cruise -- Yeasayer.  I will have already seen Grimes as well.

Stay tuned.  Reports to come later this week.

Evergram Part II -- Send A Video Message To Larry Page, Marissa Mayer, Even Zuck

Yesterday I wrote about future messaging platform Evergram -- a service definitely worth checking out -- and which is getting nice, and well-deserved, significant attention (TechCrunch being one).

Well, those smart and passionate guys at Evergram are also clever marketers.  First, they pitch themselves in wedding dresses (yes, 'tis true, check this out -- and you will understand why they did).  Now, they are giving you a direct channel (literally a direct video channel) to Google's Larry Page, Yahoo!'s Marissa Mayer, and Facebook's very own Mark Zuckerberg, enabling you to create a message that will be delivered to them on New Year's Day.

Don't understand?  Well then check out the links above -- and you'll see what I mean.  Smart, very smart.  Helps you internalize the power and potential of "future messaging."  And, gives the company great buzz in the process.

Now it's up to Page, Mayer and Zuck to pick up your message on New Year's Day and watch it ....

Here's more about this ambitious service, Evergram.  Yesterday, I gave some of the back-story about how it came to be in the first place -- i.e., THAT moment of inspiration.  More detail is warranted to give that moment justice -- and here it is directly from the founders themselves (which will help you really understand why Evergram is here in the first place -- and the depth of ambition and meaning behind this company -- it's raison d'etre, if you will):

When Evergram’s CEO and Co-Founder, Duncan Seay, was diagnosed with Cancer in December 2010, his business partner and co-founder, Jeff Caden approached Seay with an idea that would allow him to send wisdom messages to his loved ones for delivery in the event of his death. The idea quickly morphed into a solution firmly embedded around life’s important occasions and deeper human connections; a solution the founders believe will profoundly change the way our society uses social media, and social video, in particular.

“When we first learned that the disruption of time fostered the creation of meaningful messaging, we became very excited," says Caden. When video, text or audio messages are sent for future delivery, whether hours, days or even years later, the degree of thoughtfulness and connection typically increases. This is a phenomenon often experienced in letter writing, and one that the Evergram team has integrated into its entire user interface. Evergram further believes that technology has the ability to strengthen human relationships, and not to replace them; an increasing concern studied by MIT’s Science and Technology Professor, Sherry Turkle, who notes “We expect more from technology and less from each other.” 

Evergram -- A "MUST SEE" Future Messaging Platform

It's the holidays -- maybe that's why I'm nostalgic.  Yesterday, I wrote about a great new "must check out" online photo archiving service called "ThisLife."  Today, it's all about "Evergram"-- which first and foremost is a "future messaging" platform -- a service that enables users to create messages easily now for future delivery later.  Think about the nostalgic possibilities there.  Weddings.  Birthdays.  Here is Evergram -- in Evergram's own words ... actually, video ...



I recently sat down with Evergram's founder, CEO and serial entrepreneur Duncan Seay to learn more.  Duncan, a great guy by the way (the kind of passionate person you want behind any venture), told me that he was inspired to build Evergram as a result of a brush with his own mortality.  You see, Duncan was diagnosed with cancer in 2010 -- at a time when his son was just 11 -- and Duncan thought about the need to create memories that last for family member (and the lack of easy-to-use and reliable services to create and make those lasting memories readily available).

So, while Evergram today is, in Duncan's words, "a group video messaging platform with collaborative social giving," Evergram ultimately is focused on being THE "future messaging company" -- focusing its service on much more distant-future message delivery.  As one example, I could record a message today for my now 13 year-old daughter that will be automatically delivered to her only years from now on the date of her wedding (by tapping into relevant databases).  Or, if I had serious health issues, I could record all kinds of messages now for future delivery on events I may or may not see well off in the distance (again, by tapping into relevant databases).

Duncan believes this "future messaging" market ultimately will easily run into the billions of dollars.

Is he a starry-eyed dreamer?  Perhaps, but isn't that what any entrepreneur worth their salt should be?  Isn't that what the good folks behind ThisLife are?

Building that dream -- achieving "success" -- are massive challenges.  But, having a foundation of passion is a great way to start.  Without it, you are dead in the water.

Duncan has it.  Evergram has it.  ThisLife has it.

That alone makes them worth checking out.  Hey, TechCrunch just recently did (that's how I discovered Evergram).  And, they too were smitten.

ThisLife Online Photo Service Powerfully Showcases Your Life

ThisLife is a new online photo storage, management and sharing service.

But, does the world really need another?

Listen, I am a long-time user of Shutterfly -- THE leading online photo/video/memory sharing service in the U.S.  Have been for over 10 years.  And, I take a lot of pictures ... and buy a lot of photo books.

Yet, I recently learned about ThisLife in TechCrunch, so I decided to give it a spin.

Here's the deal -- it works as advertised ... beautifully.  It doesn't replace my Shutterfly account, which will always be my "go to" service and vault.  But, it complements it nicely.

First, ThisLife is drop-dead easy -- very few whistles and bells.  The service definitely follows the mantra "less is more."  And, it works.

Unlike most other online photo services, ThisLife is primarily about storing and private viewing/sharing of your stored memories -- it isn't focused on public sharing.  I like that.  ThisLife is great for your family and friend memories.  ThisLife makes uploading your still images drop-dead easy.  You can simply connect to your existing online photo accounts on other sites -- including  Shutterfly and Facebook -- and, voila, ThisLife takes over from there.  In a matter of perhaps 30 minutes, ThisLife had absorbed all of my 32,000+ still images from Shutterfly (which go back to 2002).  Yes, all 32,000 of them!  And, while ThisLife was feeding off my Shutterfly account in the background, I was able to view those that had already been uploaded.  Seamless.  Fun.  Impactful.

Once your memories are uploaded, you immediately see them presented altogether in a time-line of your life (that you slide from old to new with a horizontal "slider").  It is an impactful and poignant way to view your life's memories -- life as it has evolved over time.  I immediately showed my wife and my two kids -- we shared the ThisLife experience -- and we were mesmerized for quite a while.  It was fun to re-live those memories ... and to do it so easily.

While I would add (and have suggested) a few features to ThisLife -- including the ability to create slideshows and view ThisLife on my television via AirPlay -- why quibble?  This is ThisLife's MVP -- and it is solid.  I will use it.  (FYI -- ThisLife's customer service expert, Nicole, was expeditious, enthusiastic and thorough when responding to my suggestions; and indicated that AirPlay "is definitely on our radar"; she also indicated, interestingly, that they intend to add physical publishing options a la Shutterfly (books, etc.)).

But, while I like it (a lot), ThisLife, through no fault of its own, will never be my primary online storage vault for My Life memories.  Too much risk involved, because what happens if that nascent service simply never makes it and fades away?  Then, as goes the company/service, so go your life memories.  And, this is no idle risk.  Many similar life-time memory services have gone the way of the dodo bird -- including some, like FlipShare (remember the Flip cam?), operated by 800 pound gorillas (Cisco in the FlipShare case).  Who would have thought that one would become extinct, essentially abandoning its customers?

Of course, no service -- not even one operated by a long-established company like Shutterfly -- can guarantee perpetuity.  But, I place my bet on a long-established company like Shutterfly over a start-up like ThisLife.  So, that means that ThisLife will always be an added flavor for my memories -- a special sauce, if you will.

Can ThisLife build a long-term viable, compelling, monetizable stand-alone business facing this kind of reality (and an extremely crowded and "noisy" market where it is difficult to rise above the din)?

I certainly hope so.  But, the odds are long.

Still, it doesn't mean they shouldn't try.  And, you can sense the passion behind ThisLife.

In any event, perhaps ThisLife's founders are betting that sufficient market traction will make the already-established online photo services of the world stand up and take notice -- and ultimately acquire them.

LIVE Entertainment Done Right -- METRIC Style

There's nothing like live entertainment.  And, there's nothing like live music entertainment.

Case in point -- METRIC (the best undiscovered, discovered band), last night, at the House of Blues San Diego.  Powerful.  Energetic.  Creative.  Real Musicians.  Talented.  Quite simply, the real deal.

Canadian band METRIC (you know some of their songs, but not many -- but you should know them all) has been in heavy rotation for me for months, literally months.  Something clicked with them for me in the past few months.  So much so that a couple months back, I ripped my 13 year old daughter (also a passionate music fan) out of school early in San Diego on a Tuesday, drove up to LA, and got front row tix at the Greek Theater to see the band live.  I wrote it about it then.  One word -- "memorable."  The several hour trip to and from LA was worth it (and I had my doubts before taking that long trip).  My daughter and I proudly wear our METRIC t-shirts from that night.  We represent.  We represent a band that deserves to be represented.  To be heard.

So, imagine my surprise when unbeknownst to me, METRIC announced a show at the House of Blues right in my 'hood in San Diego?  House of Blues?  Are you kidding me?  I immediately Stub Hubbed, got tix for $38, took my wife (after discovering my favorite new restaurant in San Diego -- Banker's Hill Restaurant), met up with fellow Sorenson Media-ite Kirk Punches, and enjoyed the show.  More than enjoyed it, immersed ourselves in it.  Up in the balcony.  So close to the band.  Incredible.  Once again, they hit it out of the park.  Lead singer Emily Haines is that powerful.  Again, simply the real deal.  I don't understand why this band doesn't play on a bigger stage.  But, last night, I was thankful that they didn't.  I was thankful to be part of this intimate live performance ... nay, experience.

Check out METRIC's music.  Trust me on this one.  Spotify them.  Rhapsody them.  But, just listen to them.

Then see the band live, because there is nothing more powerful than the live experience when done right.  And, they do it right ...

Toys R Us, Hallmark -- Netflix Killers?

Did you know that Toys R Us (yes, THAT Toys R Us!) now offers an online movie store (both rentals and purchases) to compete with Netflix, Hulu, Amazon, iTunes and the others?

I didn't, and I am on the cutting edge of the online video business (or at least, so I thought)!

But wait, there's more!  Hallmark (yes, THAT Hallmark!) now too has its own online movie store to compete with, yes, you guessed it, Netflix, Hulu, Amazon, iTunes and the others.  Hallmark's runs under the name "SpiritClips," which was the online streaming service it acquired back in March.  Long-time entertainment executive Rob Fried founded SpiritClips.

As a side note, interestingly, I worked closely with Rob "back in the day" when I was VP Business Affairs at Savoy Pictures (the independent movie and television upstart that ultimately was acquired and essentially unceremoniously shuttered by Barry Diller's Silver King Entertainment).  Rob ran Savoy -- and I was a young hot-shot entertainment wheeler-dealer guy (or at least, so I thought at the time).

In any event, back to the main event.  Toys R Us and Hallmark both hope to take market share away from the 800 pound gorillas by focusing on family-friendly video content.  No "R" rated titles here.  Both also fully intend to flex their marketing muscle both online and offline in their stores -- imagine the special offers they can give to in-store "guests" (who are then driven online to not only watch movies, but also to buy more "stuff").  And, Hallmark has one more trick up its crafty little sleeve.  Hallmark has produced hundreds of movies over the years (since 1951 to be exact), collecting 79 Emmy Awards in the process.  So, it conceptually will be able to flex its "content exclusivity" muscle.

Toys R Us, Hallmark ... who's next?

Quiero Taco Bell?

The Slow Death of Books, Films & Music (& Potential Catastrophic Impact on Generational Information Exchange)

Over the weekend, TechCrunch's Ryan Lawler wrote an important piece titled "The Death of Paper."   In it, Lawler discusses society's accelerating focus and dependence on digitized information and how it is fast replacing society's reliance upon "physical, semi-permanent medi[a]" -- which has been at the core of humankind's information exchange since the beginnings of time.  Lawler focuses most on the replacement of paper (e.g., books, etc.) via digitization.   But, he also identifies the same for film and music.

At the end of his piece, he asks the critical question:  "In 20 years, if there are no physical books, what will future cultures know about us in 220 years, when digital memories are likely wiped away?"

Lawler identifies the right question here, but he does not elaborate on this potentially cataclysmic ramifications of this issue -- which are real, very real.

How can that be, you ask?  Digitized information is even more secure and lasting than physical media, you say.

But, that is not the case at all -- and society holds a fundamental misconception of this fundamental problem that has potentially massive adverse consequences to information exchange from our generations to future generations.  I know this sounds like "the boy who cried wolf," but it really isn't.

I recently identified the same "digital dilemma" in a guest post for The Huffington Post, titled "Indie Filmmakers and the Digital Dilemma."  In my piece, I focus on the potential for whole generations of motion pictures -- some of our greatest art -- to be wiped out simply by the inexorable march of time.  The Academy of Motion Picture Arts & Sciences defined the problem and unappreciated reality in the following way:

"Compared to traditional filmmaking using motion picture film stock, digital technologies make it easier to create motion pictures, but the resulting digital data is much harder to preserve."

Here's why.  As I identified in my piece, which applies equally to all forms of digital data), digital data is subject to invisible failure mechanisms at many levels, including: 

(1) the actual recording media, 

(2) the data reading and writing system in the digital storage device, 

(3) the data interface that connects the storage device to a computer, 

(4) the computer network that connects individual machines, and 

(5) the many levels of software that control the overall system. 

For all these reasons, long-term preservation of digital data requires both costly professionally managed digital storage systems and processes, and perpetual operational support (which includes continuous migration to newer storage technologies).  

But, how much of that is really being done?

In the case of independent film, the Utah Film & Media Arts Coalition -- which is based in Salt Lake City (the home of independent film's Sundance Film Festival) -- hopes to build a massive digital film archive to preserve that fundamental art-form for future generations.  However, it needs significant private financial support to make this a reality -- and we are not there yet (I am a member of this Coalition which is now in the RFP process).

How about all other media?  Society's books?  Movies?  Music?  Your books?  Your movies?  Your music?

Right now, much of this digitized data is in the grips of a slow death march.  I can hear the funeral dirge as we speak.  

But, that music is slowly ... ever so slowly ... almost unnoticeably -- fading away ....

As of Today, Official Blogging Duty for Sorenson Media

As of today, in addition to this, my personal "Digital Media Update" blog, I am the official blogger for Sorenson Media.  Here's why -- and here's my first post in that role.

As many of you know, I also frequently write for other notable blogs -- including guest blogging stints on The Huffington Post, TechCrunch, and Streaming Media.

Why?

I like to write.  I like to share my insights (for what they're worth).  I like to connect.

The content for all of these will rarely overlap.  In other words, I hope you read them all.

KIT Digital, Not Kaltura, To Restate Earnings -- Or, When A Headline Goes Wrong

A couple days back, Tim Siglin of Streaming Media wrote an important piece about disturbing news in the online video market -- specifically, and incredibly, once-darling KIT Digital will restate ALL earnings for the past 3 years "due to revenue recognition irregularities."  In KIT's own press release, it tells its investors to "no longer rely upon the Company's previously issued financial statements for these periods."  Even more incredible (or not) is the fact that the company announced this disturbing development just prior to the market closing the day before Thanksgiving, thereby hoping to draw as little attention as possible to its announcement.  Well, Tim Siglin noticed -- as have others in our space.

But, here's a new wrinkle which is unfortunate.  Earlier today, Streaming Media itself inadvertently issued the following headline in its "Streaming Media Xtra" newsletter -- i.e., "Kaltura to Restate Earnings for Past 14 Quarters."  

Obviously, it is KIT Digital -- not Kaltura (which is in the same OVP marketplace).  I already have received a note indicating that Streaming Media will shortly issue an apology to Kaltura, if they haven't already.

This is a very rare miss for Streaming Media.  I know the folks behind Streaming Media very well -- and they are top-notch all the way around.

Listen, mistakes happen.  We all make them (I certainly do).  But, this one in particular may very well create confusion with Kaltura customers.

Climbing Mt. Whitney -- Re-Living via YouTube

I just re-discovered this video of my 2006 Mt. Whitney climb -- with 4 buddies -- via YouTube. Candidly, I had forgotten it even existed (since I was not the videographer for our epic adventure). The video quality is awful -- but re-living the experience is magical. Again, the power of video. And, the power of "experiences." If you haven't climbed Mt. Whitney, do it. And, this video reminds me to do it again. I tried to get a spot in the lottery this year -- but failed (you cannot climb Whitney unless you win a "spot" from the National Forest Service). This year, I will try again. It is time.

The Transformative Power of Song, Community & Video

Watch this video -- just watch it -- even for a little bit. This is what is known as a "Virtual Choir" project -- featuring 3,746 videos from 73 different countries. Essentially, a crowd-sourced choral arrangement. Two words describe this experience -- "powerful" & "transformative."

Jeff Bezos & The Power of the Written Word

Fortune just profiled Amazon uber-boss Jeff Bezos in a must-read piece titled "Amazon's Jeff Bezos: the Ultimate Disruptor."  In what certainly has become the most "shocking" revelation to many in the tech world (see this Business Insider piece), Bezos opens up about leading his senior executive ("S-Team") meetings with 30 minutes of silence, during which the S-Team collectively reads 6-page PAPER (that's right, non-e-ink!) memos written by team members.

Why?  To focus his S-Team on contemplation -- contemplating issues by taking the time to put them down intelligently, with organization, on paper (real paper); and, contemplating issues by taking the time to carefully read and absorb them before they are discussed.

Listen, I am no Jeff Bezos.  But, at the same time, I have always believed in the power of the written word -- or, more accurately, written words thoughtfully strung together to force contemplation, organization, and prioritization.  That's why I am an avid blogger -- have been for years -- and that's why I have led my own senior staff meetings for years with written detailed agendas that are put down on actual paper.

Even in this increasingly virtual world, some things never change.  Nothing substitutes for the power of the in-person face-to-face meeting (even in the face of video conferencing).  And, nothing substitutes for the power of the thoughtfully crafted written word(s).  I am not talking email snippets here.  I am talking about really taking the time.

Take the time.  Do it right.  

SS Coachella Sets Sail in One Month -- I Will Be on the Maiden Voyage

Coachella -- THE preeminent music festival in the U.S. -- bleeds money.  And, owner AEG Live has taken note and is taking the brand to places it has never gone before -- from one of the driest of the dry places in the world (the Coachella Valley/desert in California) to the high seas (the Caribbean).

One month from today -- December 16 -- marks the maiden voyage of the SS Coachella, a mini Coachella experience on a maximum-sized cruise ship.  True to form with Coachella's new playbook of identical line-ups for two consecutive weekends, the SS Coachella first sets sail for the Bahamas (December 16-19) and then immediately follows it up with a tour to Jamaica (December 19-23).

I will be on the first tour -- the very first SS Coachella (after attending the main Coachella event 3 out of the past 4 years).

And, while the line-up is disappointing (Pulp is the headliner, really?), I am already getting restless for what inevitably will become a notorious event in its own right.

Coke's $10M Spotify Investment -- It's the Real Thing

Online music darling Spotify just closed another massive round of financing -- $100 million at a whopping valuation of $3 billion!  That brings Spotify's overall "take" to $288 million -- just chew on that for a minute.

Global marketing behemoth Coca-Cola (yes, that is what they are -- a marketing company) contributed $10 million to the Spotify cause in this round (as did Goldman Sachs, Fidelity Investments and others). Coke is no newbie in the world of digital music.  When I served as President & COO of online music pioneer Musicmatch "back in the day" (2002-2004), I negotiated one of Coke's first forays in the online music world via Musicmatch.  Musicmatch was one of the first to bring online music services to market (Internet radio, on demand music via subscription).  Yahoo! ultimately acquired the company in 2004 for $160 million.

When It Comes to Online Video, Speed Thrills

We are an impatient society.  We are impatient people.  We also love our video (after all, we are visual creatures and nothing engages more than video).

That's why speed matters ... a lot ... when it comes to online video.  Speed matters when it comes to the online video reporting of news and sporting events.  Speed matters in the preparation of video for online distribution (think encoding).  And, speed certainly matters when it comes to the playback of that video.  We start losing interest once we see the loading "spinning wheel of death" after clicking "play."  We want it now!  Hey, we don't just want it, we deserve it!  (Louis C.K. would have a field day on that topic).

More hard proof on that point.  A new study reported by Gigaom ("Online viewers start leaving if video doesn't start playing in two seconds") concludes that 2 SECONDS is the point where many online viewers simply can't take it anymore and move on.  And, 6% more viewers abandon ship every second after that. 

Speed certainly does not kill when it comes to online video.  Speed is absolutely essential for online video services to survive and thrive.

Content Is King -- Especially In the Cloud

[NOTE -- this is a post from early this year; I have updated it and am republishing for those who didn't see it the first time.]

The era of long-predicted video ubiquity is now upon us. It has been inevitable. Now here it is, thanks in large part to the power of the cloud. This new reality is welcome to both consumers and to premium video content owners and creators (including the major studios).

For consumers, cloud-based access to premium motion picture and television content gives tremendous freedom and flexibility to buy once, consume anywhere, anytime, on any device, and even seamlessly shift viewing from one device to another.

For content creators, the cloud opens up tremendous new power to reach those consumers -- anywhere, anytime, and on any device. This means that premium video content can touch - and touches - all of our  lives more relentlessly than ever before. And, this means that cloud delivery opens up unprecedented new ways for content owners to drive (and monetize!) significantly broader video consumption. While this may surprise some, content will be king like never before.

It is no wonder then that major premium content distribution outlets like Netflix and Apple already have been joined in the scrum by Amazon, Google, Wal-Mart (Vudu), Hulu, Comcast and a host of others large and small. Others, like Redbox, are waiting in the wings to pounce soon. The core strategies of these companies are founded on, or at least significantly influenced by, the need to be a force in video distribution. Much is at stake to "win" in the distribution game.

Due to competition from these behemoths to button up and market the deepest pool of scarce (unique) motion picture and television content in a never-ending quest for differentiation, major studios and other content owners and creators are starting to see the first real green (as in money) shoots sprouting up in this brave new cloud-enabled world. Just recently, most of these over-the-top (OTT) and "TV Everywhere" providers have ponied up big bucks to license necessary rights to distribute that premium video content. As just one example, several months ago, Netflix ponied up nearly $1 billion to stream shows from the CW Network. If the CW can command those kind of numbers, just think what real "premium" video content (like ESPN) can fetch! And, we are still only in the early innings of this online video game.

In this midst of this cloud distribution revolution, yes, there is significant disruption to existing business models. As examples, the major studios and cable operators have long relied upon established and cozy business terms which ultimately limited access to premium content to those consumers willing to shell out significant fees for programming packages. Cloud-based distribution challenges these established rules of the game and overall economics. Why? Because consumers are demanding it for all the reasons noted above.

That means there absolutely will be new winners and losers here. For one, "big" cable likely will lose its power over time as a principle source for premium video content - and likely will fall instead to the long-feared "dumb pipe" status (although fear not MSOs, more OTT distribution requires ever-fatter pipes and broadband margins are significantly higher!).  

But, no matter what, creators/owners of unique content ultimately will wear the crown of power, so long as that content strikes a chord with consumers. 

iStreamPlanet Chooses New Squeeze Server 2.0 Enterprise Transcoding

Last week, my company, Sorenson Media, announced new Squeeze Server 2.0 -- an entirely re-imagined enterprise video transcoding solution.

Today, more big news -- iStreamPlanet (a leading provider of live and on-demand streaming video solutions for prominent enterprise clients in the global technology, sports and entertainment markets) has selected new Squeeze Server 2.0 as its video on demand transcoding solution for its cloud-based services.  iStreamPlanet will use Squeeze Server 2.0 as its platform to encode and transcode video on demand files and to optimize delivery to every leading format and device in the increasingly multi-screen online video marketplace.

iStreamPlanet's confidence in our enterprise transcoding products -- after substantial beta testing -- is a testament to the power of Sorenson Media innovation and technology.  After all, iStreamPlanet's client list is a veritable "who's who" in sports, entertainment and technology -- including NBC, Turner Broadcasting, AMC Networks, the US Olympic Committee, AT&T, and Microsoft.

We welcome this important new partnership.

Sorenson Media Wins 3 Coveted "Readers' Choice" Awards

Literally Just announced at the Streaming Media West conference -- Sorenson Media just won a record 3 coveted "Readers' Choice Awards" (tying our "take" from last year):

(1) Best Encoding Software (Enterprise Class) -- Squeeze Server

(2) Best Cloud Encoding/Transcoding Service -- Squeeze Cloud

(3) Best Encoding Software (Desktop) -- Sorenson Squeeze

The win in the first category above -- "Best Encoding Software (Enterprise Class)" -- is particularly gratifying because we announced our new major Squeeze Server 2.0 release just yesterday and this new version blows away our v1.0 in all respects.  We consider it to be an entirely different product.

Thank you video professionals and enterprise video specialists -- we won these awards due to your confidence in our products.  It is very gratifying to all of us here at Sorenson Media.

And -- to this great innovative team here at Sorenson Media -- congratulations!

(Accepting the awards in the picture are VP Business Development & Strategy, Kirk Punches, and Sales Executive, Jen Swartz.)

"Mommy, Is Facebook Like Instagram for Parents?"

From the "Kids Say the Darndest Things" Department -- my nearly 10 year old son, Luca, said the funniest thing the other night.  As my wife, Luisa, was checking her Facebook account, Luca asked the question in the post title above -- i.e., "Mommy, is Facebook like Instagram for parents?"

And, think of it -- it's kind of true (or, at least it is getting truer and truer).  Luca knows about Instagram not because he uses it (he doesn't -- we don't let him), but rather because his 13 year-old sister, Hunter, does.  He knows that essentially all the kids are doing it (using Instagram, that is).  We let Hunter use Instagram (although we monitor it), but we don't let her use Facebook (she has no interest in Facebook anyway).  (Separate question -- is allowing her to use Instagram but not Facebook logically inconsistent?  In any way, kids definitely know that Instagram is a Facebook "loop-hole" for them with their parents and that has been at least part of the reason for Instagram's success).

In any event, Luca's hilarious question points to a larger point -- Facebook certainly is getting stale in the minds of the young ones and may be more the province of we older folks (parents) on a going forward basis.  For the young ones, Instagram -- and other social networks that have not yet seen the light of day -- is where the new generation is going.

Facebook undoubtedly saw this writing on the wall -- and, rather than become marginalized over time by Instagram, it gobbled it up.

NEW Squeeze Server 2.0 From Sorenson Media -- Wholly Redesigned -- An Entirely New Product

Big news today at my company, Sorenson Media.  We are officially unveiling our wholly re-conceived enterprise transcoding product, Squeeze Server 2.0 (click here for our official press release -- and click here for Streaming Media's coverage of our Squeeze Server announcement).

Technically, this is v2.0 of Squeeze Server -- but, this is much more than a major point release.  This is a completely rethought, redesigned, and redeveloped product that has been virtually the sole focus of our development team for this entire past year.   And, we didn't redesign in a vacuum.  We redesigned with the active participation of, and feedback from, tens of existing and beta enterprise users.  In other words, lots of blood, sweat and tears.  We learned much along the way -- and it certainly wasn't easy.  This took the great ingenuity of essentially the entire Sorenson Media team, with overall development being led by Mitch Holyoak who leads our Salt Lake City office and who has been with our company for 15 years.  Mitch is one of the foremost experts in video encoding/transcoding in the world.  No problem can't be tackled by him and his team.  And, this new version of Squeeze Server oozes with innovation.

We believe Squeeze Server 2.0 has the potential to disrupt the enterprise transcoding market by bringing user benefits unique Sorenson Media and for which we are legend.  This includes unprecedented speed, quality, workflow, support and value.  Here's a bit more detail:

SPEED -- we have made ground-breaking enhancements to our core encoding algorithm to maximize all available server CPUs fore each encode;

QUALITY -- the broadest variety of input and output options for multi-screen video preparation with optimized encoding presets, including optimizations for all four leading adaptive bitrate streaming protocols (including MPEG-DASH, HLS, Smooth Streaming, and Flash Dynamic);

WORKFLOW -- a completely redesigned user interface that enables easy management, updating and status indicators for all encoding, including remote control of the servers from a browsers or iOS device; we also offer easy-to-use installation configurations, so the application is ready for encoding within moments (literally), with zero configuration queues and intelligent presets;  additionally, and unique to Sorenson Media, Squeeze Server is optimized for hybrid cloud/on-premise environments, and runs equally well in any public or private cloud; also, Squeeze Server ties in directly with our award-winning Squeeze Desktop encoding application so that users of Desktop can directly offload encoding jobs to Squeeze Server and thereby free up their work stations (and also get the benefit in Server of all the customized presets they made in Desktop);

SUPPORT -- dedicated gold-tier maintenance with highly trained video experts (via phone, email, or live chat -- the users decide), as well as ongoing updates and upgrades as they become available.

VALUE -- Squeeze Server is offered via two different licensing models -- the first is a one-time cost of $5,000 and 18% maintenance (with no hidden costs or additional data base costs charged by others), and the second is a variable monthly subscription fee which is ideal for virtualized/Cloud usage.  Others in our enterprise transcoding market charge SIGNIFICANTLY more for significantly LESS.

Bottom line -- we are proud -- very proud -- of this one.  We believe we got this one right.  Very right.  And that isn't just based on our own internal thinking.  It is based on actual beta users who we are now converting to actual customers.

They trust the Sorenson Media brand -- and what it represents.

We are showcasing new Squeeze Server 2.0 at the Streaming Media West conference which kicks off today in LA.  Stop by our booth -- which we are sharing with our new partner RealNetworks to offer the broadest variety of transcoding and streaming solutions to cover the needs of virtually any workflow.

Instagram for Video -- Why It's So Hard

Instagram -- THE picture sharing, picture enhancement social network -- was recently acquired by Facebook, of course, for a price between $600Million and $1Billion (depending on where Facebook's share price is at any given moment in time).  So, with video permeating the web and our lives now on every device, an "Instagram for Video" is the next best thing.  Right?

Not so fast.  Video is a very different beast entirely -- contextually, technically, and experiencially.

I recently wrote about these fundamental differences in TechCrunch in a post titled "Instagram for Video -- Massive Opportunity, Yes!  Done Right, No!"  In it, I discuss the significant hurdles facing those VC-backed companies trying to crack the nut (both private and publicly-held companies).  I also offer a recipe to succeed.

Following my TechCrunch piece, two others offered their own "takes" in TechCrunch about this topic (both of whom cited my original piece).  Just yesterday, filmmaker Armando Kirmin posted a piece in TechCrunch titled "The Sad State of Video Apps" in which he focuses on the filmmaking process and how it is radically different than still photo capture (apart from the technical issues I cited in my piece).  And, previously, Sandeep Casi focused on the fundamental differences between video and still images from purely a content perspective (and how translatable personal video content is to others) in a TechCrunch piece titled "Cloning Instagram for Video Will Not Revolutionize Mobile Video."

Together, these three pieces tie together the supreme challenges facing the "Instagram for Video" quest by tens of start-ups, as well as the massive market opportunity if they were able to succeed.  My ultimate conclusion is that it will be one of the tech industry behemoths that ultimately will be the one that comes closest.

And, that won't be Instagram owner Facebook.  For the reasons discussed in my piece, it most likely will be one of the consumer electronic behemoths.

Sorenson Media -- Finalist for 4 "Readers' Choice" Awards

Just announced -- Streaming Media's finalists for its coveted "Readers' Choice" awards.  Once again, Sorenson Media is a finalist in multiple categories -- this time 4:

(1) Best Cloud Encoding/Transcoding Service -- Squeeze Cloud
(2) Best Encoding Software (Desktop) -- Sorenson Squeeze
(3) Best Encoding Software (Enterprise Class) -- Squeeze Server
(4) Best Online Video Platform -- Sorenson 360

Winners will be announced next week at the Streaming Media West conference.  Last year we took home 3 awards (more than any other company, including giants like Adobe).

How many this year?

Content Is Still King -- Always Will Be -- Money Will Come

[NOTE -- this is a post I wrote earlier this year, but believe it is a worthy topic for those of you who missed it the first time; it is slightly updated here].

Janke Roettgers of Gigaom recently wrote a piece titled "Netflix, Hulu & the Golden Age of Content", in which his major premise is that we have reached a new high point for video content because virtually all major online distributors are now developing original programming (a la HBO). That includes Netflix, Hulu, YouTube, and even Amazon! His major point -- it's not just about the major studios and indie film-makers anymore.

And, yes, that is a big deal. But, why are all of these major online players now getting into their own major video content creation game?

Quite simple. Economics. Pure and simple. Economics.

You see, we are, in fact, entering a new golden age for video content creators. But, for very different reasons than Roettgers' main premise.

Here is the real deal. He (or she) who creates the video content, ultimately gets the gold. In other words, video content creators are now discovering -- or re-discovering -- that it is their content that ultimately drives the entire online video engine and machine. You see, there are scores of video distributors, all of whom essentially do the same thing. They aggregate videos and try to amass the largest library for distribution (which is precisely what has happened in the online music biz for the past 10+ years now).  Their mission is to bring you, the consumer, the widest selection of online video content.  But, ultimately, these online distributor (Netflix, Amazon, Hulu) will essentially aggregate the same content that the others can also bring you.  There will be no real differentiation there.  They will try to differentiate themselves from the others by offering the best user experience, recommendation engines, etc.

But, on the flip-side, the video content itself that they bring you is absolutely unique. No two programs are identical. And, if any online distributor wants to deliver that unique work of content to you, they must pay the content creator. And, those content payments (licenses) for online distribution are now finally becoming big, very big. All of these major online players -- Netflix, Amazon, Hulu -- are starting to pay big big bucks to deepen their pools of content. And, we are still only in the early innings of the online video revolution.

These licenses will substantially increase over time, as all major online video distributors will fight to offer the deepest pool of online video content to their users (and have the bragging rights that they do so). As noted above, we have already seen that happen in the online music business. All online music distributors -- iTunes, Rhapsody, Spotify, Rdio, Napster -- always boast, first and foremost, that they have gazillions of tracks to offer. The largest number I recently saw was nearly 20 million available tracks.  Providing a rich pool of content (in this case, music) is simply a price of admission to be a real player in the online music game, because consumers don't want to find "holes" in a service provider's catalog.  If they do, they bolt to a competitor.  

Same thing is happening in the premium online video game. Real bucks are being paid. And, yes, these major players are now trying to pull an HBO and augment (and differentiate) their libraries from the others with their own self-produced programming. But, the real bread and butter will come from shows they don't produce -- at least for several years.

And, that's great for all of the kings of content who retain the crown ....

For a deeper analysis on this subject, check out my guest post in TechCrunch titled "Apple Schooled Music Execs Then, Here Are the Lessons Online Video Should Learn Now."