Last week, we wrote about some of the copyright issues around the whole "Harlem Shake" meme (and, yes, we know it's not the "real" Harlem Shake, so don't even bother commenting about that). However, a few days ago, I was talking to an old friend who also happens to be an IP lawyer, and he pointed out one of the nuttier things about our copyright system. Yes, he said, Baauer is making tons of money by monetizing all of those Harlem Shake videos with ads. But Baauer actually had almost nothing to do with the popularity of the song or the meme itself. This isn't a Psy situation, where his video/dance created the meme. Instead, as we discussed, there was this video, which led to this video, and then this video and then this video... and then tens of thousands of copycats bloomed.
Yes, they all use 30 seconds from Baauer's song (which itself included many samples from others, some of which do not appear to be licensed, based on Baauer's own statements), but the popularity was because of the original video by "Filthy Frank," and then TheSunnyCoastSkate (TSCS) building on that to create the basic framework, quickly followed by PHLOn NAN and the folks at Maker Studios. In many ways, this reminds me of Derek Sivers' popular discussion of the importance of the "First Follower."
As he notes, it's the "first follower who transforms the lone nut into a leader." And then you have the "second follower" which represents a "turning point" in creating a movement. In this case, none of these key aspects had anything to do with Baauer. Yes, the song was there, but there were any number of songs that could have kicked off a similar dance craze. The reason the whole meme happened had to do with those originators, and the first few followers, turning it into a meme. I don't think any of them are complaining. In fact, they all seem (quite reasonably) thrilled that they're suddenly getting tons of attention and millions of hits (and plenty of new followers) for their role in building the meme.
But, when we step back and look at the copyright system, it does make you wonder why the system is so focused on Baauer's ability to get paid, but not the people who actually made the whole meme what it is. In many ways, this is an extreme example of where copyright may be fundamentally flawed. Content becomes popular through cultural sharing. People talk about something amazing and it gets passed along. The "Harlem Shake" videos are a form of that, where the importance of everyone in the role of expanding the community and making the song/meme a cultural "thing" is that much more clear.
Historically, we've often lumped together the initial creative work with the eventual popularity of it, leaving aside the role of the community in making that work a hit. But the Harlem Shake is a case where we can actually separate out those two things, and realize that perhaps copyright is focused on only one part of our cultural setup, while ignoring what may arguably be the more important part: those who make something culturally relevant.
Now, I'm a big believer in learning to gain benefits without resorting to copyright, and it seems like the folks who really built this meme are being rewarded in their own ways, outside of the copyright system. But, for those who think that copyright is necessary to "reward" creators, and who argue that copyright is all about fairness in protecting the rights of creators, do the people who actually "created" the popularity around this meme not count?
For those of you who have managed to avoid the viral sensation of February, known as "The Harlem Shake," consider yourselves lucky. People still seem at a total loss how this became "a thing," but it involves the opening 30 seconds of a song released nearly a year ago, called The Harlem Shake, by Baauer, with the first half involving someone in a wacky costume (often involving a helmet) dancing while others around them ignore it, followed by a bass drop and suddenly everyone around is dancing crazily, often involving costumes, stuffed animals (or real animals), people in sleeping bags and much much more. It's gone quite insane (and, yes, we know it's not "the real Harlem Shake" but so what?) with way, way, way, way too many people, companies and organizations all doing their own versions. There were reports of 4,000 Harlem Shake videos being uploaded to YouTube every single day, and over 60,000 being on YouTube already. If you want (and I warn you to be careful), you can spend hours going through video after video. The KnowYourMeme link up top has collected some of the most popular ones. I cannot vouch for how many such videos it takes before you are driven insane, so be forewarned.
Over the weekend Baauer's song hit number one on the charts and it appears to be doing fairly well around the globe. Also, the song has resulted in a sold out show in NY for Baauer and what is likely to be a fair bit of money. That's because, rather than freak out about others using "his" song (which includes a bunch of samples), Baauer and his label Mad Decent have a deal with INDmusic, which helps indie labels/musicians claim YouTube videos via ContentID and place ads on them. So, combine a top selling song on iTunes, plus allowing the free use of it on YouTube (and monetizing it via ads) and it seems like a tidy profit is being made.
So, for a bit, this was looking like yet another story of how letting people build something on your music was enabling a nice way for one artist to make money, without flipping out about "copyright infringement." But... then we learned that it wasn't quite that simple. As highlighted by The Verge, while Mad Decent and Baauer have mostly let people do what they want with the song, they did send a takedown to Soundcloud over Azelia Banks posting her lyrics over the entire Baauer track, and also posting a video:
That quickly turned into a bit of a Twitter fight, with Banks calling out Baauer:
And, from there we get the following exchange:
Of course, it seemed like there absolutely had to be more to this, as it was unlikely that Banks put together that song and video so quickly after the meme took off (especially since the video doesn't reference the meme at all). Indeed, in an interview with the Daily Beast Baauer (real name: Harry Rodrigues) explains:
“I’m not happy about it,” says Baauer. “She had a version that we were going to release because I’m a big fan of hers. We knew she likes to beef with producers. So she laid something on ‘Harlem Shake’ and it was so/so. Didn’t love it. And that was a little while ago, and since all this video stuff happened, our plans all changed. Because of that, we decided to just release the song on it’s own with no vocal version. So we told her, ‘Please don’t release your version.’ And she said, ‘Well, I’m going to put it online anyway.’ And we said, ‘Please don’t. We’d really like it if you didn’t.’ And she did.”
Still, while lots of folks are defending Baauer here (in part because Banks does have a reputation for getting into arguments with people, and in part because she also went on a homophobic rant), she did have a point when she tweeted this:
Art is supposed to be inspiring, and you should be happy when someone is inspired by your art. In fact, one might argue that Baauer's statement to Banks that "its not ur song" could potentially come back to bite him as well. In that same Daily Beast interview, he talks about how he created the song:
“I just had the idea of taking a Dutch house squeaky-high synth and putting it over a hip-hop track,” he says. “And then I tried to just make it the most stand-out, flashy track that would get anyone’s attention, so put as many sounds and weird shit in there as I could. The dude in the beginning I got somewhere off the Internet, I don’t even know where, and the lion roar just makes no sense.” He laughs. “There’s the sound of flames in there, too, it’s just really low.”
He doesn't know where the "dude in the beginning" comes from -- though, the folks at Reddit have figured it out (because Reddit knows everything). You have to imagine that wasn't licensed, though, if he didn't know where it was from. Who knows about all of the other samples. Personally, I think it's great that he created something by building on the works of others, and was inspired to create something that has become such a huge hit. But you'd think that someone who made the song by pulling bits and pieces from others wouldn't be so fast to sling claims of "ownership" back at someone else who built off of his work. Yes, there's more to it than that and, for the most part, Baauer seems reasonably giddy with all the insanity (and he definitely seemed to do a nice job with his Reddit AMA thanks in particular to this exchange).
It would just be nice if artists who really build on the works of others didn't jump to claiming ownership when others build on their works as well.
Social networks are clearly a very fashionable field of study right now because they provide an unprecedented volume of records for human interactions that can be mined for trends and correlations... and marketing strategies. Figuring out how viral messages spread could teach us how to educate our peers or to notify people about emergencies or to advertise caffeinated beverages. Here are just a few studies on how people behave in online communities.
It's a great little production, because not only does it effectively portray the potential of what is variously called open journalism, citizen journalism and participatory journalism, among other things, it also serves as a good example of a common mantra around these parts: advertising is content, and content is advertising.
I go through huge amounts of links and information each day when it comes to the music business, but this is by far the coolest and funniest way of getting your music discovered I've seen in a very long time (OK Go, eat your heart out).
The idea of The Ugly Dance is very simple. You go to the site, upload your picture, it's placed on top of a (slightly customizable) body and you can choose all kinds of maniacal ways of dancing. Here's yours truly dancing like nobody’s watching:
It’s a project by Swedish band Fulkultur and appears to have been around for about half a year right now. Obviously, this type of thing spreads; getting their music heard by a lot of people (and what a catchy song it is). When I wanted to create a second dancer (to send to a friend), I got the following message:
A very reasonable thing to ask... and since I was in such a great mood and figured the donation would not be much effort anyway, I went ahead and gave them some money, even though I believed clicking the Donate Nothing button would still allow you to create more dancers, although I later found out that this is in fact not so.
These videos are the result of the ecosystem at work! It's a fanbase that co-creates, amplifies and adds value to your original message. It's a perfect example of using something viral to getting your music discovered, but also of creating a movement which is easy to join, because it’s obvious what you have to do to participate (also read Derek Sivers' post about this).
I got in touch with the band and asked about the success. Anders Tjernblom, one of the band members, filled me in (even though he was on holiday!):
"TheUglyDance.com was actually not a result of some great promotional master plan. It just happened.
It started off as an idea to get visitors to my band Fulkultur's (meaning Ugly Culture/Crap Culture) Myspace page. I have had this idea about a dance application for about a decade. In January last year I started programming it in my spare time, and a couple of months later I wrote the song Fuldans (Ugly Dance) specifically for the application. It was not the other way around, as most people think.
On May 17 we released fuldans.se and sent the link to some friends. When I checked the stats a couple of days later a few thousand people had made their own dancers. I could feel something was about to happen. Just the day after someone shared a link on a Swedish blog, and it generated a tsunami of visitors. 30 000 people rushed in in just a few hours. The week after we hade a few hundred thousand hits, and it was a continous struggle to keep the server alive. Two weeks after the release, and 700 000 visitors later, I thought everything was under control. Then the Americans came.
Someone had written English instructions for the website, and had published it on some major American website. Our current server could not handle that amount of visitors. We decided to close the server for international visitors, to find a better solution.
During June/July we created an English clone of fuldans.se. It was going to be called theuglydance.com. Even the music was translated, and our aim was to raise money for the band to write and record more music. The clone was released by the end of August.
Now, to answer your question:
TheUglyDance.com have had 7 milllion completely unique visitors. A few very kind people have donated, but they are very few. If we should have done anything differently, we should probably have sold T-shirts or something. Something real for the massive amount of visitors to buy. But we are still very happy for what we have accomplished. We will try to keep the website alive for as long as possible, although it is not a cash cow at all."
I think partly due to the fact that this success "just happened", they never really got the chance to think things through very well. They did a spectacular and exemplary job at getting people's attention and making the initial connection, but there appears to be no focus at all on retention. There appears to be no link to the band's MySpace, which they were trying to promote. Due to the fact that most people are on Facebook and Twitter now, I think it would have been a better idea to put those links in the foreground, but most importantly; there has to be a way for people to connect. A simple Facebook 'Like' button below the Flash application would have gone a long way.
The second part is the business model. I think it's great that the band went into this without a very clear picture of a business model. They just had an exciting idea and executed it and this genuineness shows in the final result (and echoes throughout the ecosystem as you can see through the fan vids on YouTube). From a marketing perspective, asking for a donation or getting people to buy your music out of sympathy is a bad business model. As Mike always says, it's about giving fans a reason to buy. A good thought experiment is to imagine a totally selfish consumer and to see what you could offer them so that they spend money on you. They should spend it for themselves, not for you.
This means making sure you retain as much of the original traffic as you can without getting obtrusive. This means shining a light on the early followers and encouraging them in what they do, because they're helping you amplify your message and are providing social proof. At the same time you should connect these people to each other, forming an ecosystem. You're still the reason why these people are connected, but the communication in the fanbase should be non-linear (as opposed to artist-fan), because that's how the ecosystem can start to come alive (think of it as hosting a party where nearly nobody knows each other). The business models simply come from listening to the ecosystem and playing into their desires (just like Younger Brother did).
In the end, giving fans a great reason to buy is the ultimate way of connecting with them.
There was a time when, if something was viral, it was almost certainly a bad thing. (Now, being viral could mean you're going to be the next Justin Bieber.) With current biotech research, the end of common diseases could be at hand or we could be launching ourselves into the next era of viciously untreatable illnesses that we've had a hand in creating. Hopefully, we're not going to be living out a bad sci-fi movie plot anytime soon. Here are just a few potential precursors to the apocalypse, though.
As he's done before, Ok Go's lead singer Damian Kulash has taken to the NY Times Op-Ed pages to discuss the fact that his own record label seems a bit clueless. Basically, he's repeating what he said a few weeks ago on the band's website, claiming that YouTube only pays royalties on videos streamed on site, rather than embeds (someone from YouTube told me this is untrue, but when asked for specific confirmation I got no response). However, what is interesting, is that Kulash highlights two things:
Their original video (the treadmills one) was made entirely on their own outside of EMI's influence, and the success of that video has helped make EMI and the band a lot of money:
In 2006 we made a video of us dancing on treadmills for our song "Here It Goes Again." We shot it at my sister's house without telling EMI, our record company, and posted it on the fledgling YouTube without EMI's permission. Technically, this put us afoul of our contract, since we need our record company's approval to distribute copies of the songs that they finance. It also exposed YouTube to all sorts of liability for streaming an EMI recording across the globe. But back then record companies saw videos as advertisements, so if my band wanted to produce them, and if YouTube wanted to help people watch them, EMI wasn't going to get in the way.
As the age of viral video dawned, "Here It Goes Again" was viewed millions, then tens of millions of times. It brought big crowds to our concerts on five continents, and by the time we returned to the studio, 700 shows, one Grammy and nearly three years later, EMI's ledger had a black number in our column. To the band, "Here It Goes Again" was a successful creative project. To the record company, it was a successful, completely free advertisement.
Once EMI disabled embedding on that video, the number of views dropped drastically, harming everyone's bottom line:
When EMI disabled the embedding feature, views of our treadmill video dropped 90 percent, from about 10,000 per day to just over 1,000. Our last royalty statement from the label, which covered six months of streams, shows a whopping $27.77 credit to our account.
Clearly the embedding restriction is bad news for our band, but is it worth it for EMI? The terms of YouTube's deals with record companies aren't public, but news reports say that the labels receive $.004 to $.008 per stream, so the most EMI could have grossed for the streams in question is a little over $5,400.
Now, I'll quibble with Damian's final point there. First, it's still not entirely clear if it's true that YouTube doesn't pay for embed streams, but even if that's the case, I'd argue that of the 10,000 views per day, it also increased the number of direct views (I quite frequently will click through on an embedded video to see it at YouTube itself -- often to see more about who posted it, or sometimes the comments on the video). Second, if you recognize that embeds and things that get passed around are quite a bit like radio used to be, you have to imagine that some percentage of the 10,000 streamers per day went on to buy something from Ok Go that resulted in EMI making money. Cutting that by 90% just doesn't make any sense. Perhaps it's no wonder that EMI is on the verge of going out of business.
Damian does go on to claim that record labels are an important part of the business in funding new acts, and helping them do more expensive things early on, while aggregating risk. Indeed. I don't deny that at all -- and, as I've said plenty of times before -- there's still a place for labels that wish to do things like that. The problem is that the labels have set up their business models to rely on a single revenue stream, album sales, that is increasingly less important. The rest of the music ecosystem is thriving and will continue to do so, and if it's not the old record labels giving advances and aggregating risk to promising bands, others will step in to fill that gap. There's too much opportunity and too much money for it not to happen.
Well, well. We've written about the band Ok Go a few times here, as a band that definitely does seem to "get" what's going on in terms of how to connect with fans and promote their music well. Many years ago, the band had spoken out against DRM, and, of course, they produced one of the most popular music videos of all time -- the famous "treadmills" video. I would have embedded that video here, but Ok Go's label, Capitol Records/EMI decided somewhere along the line that no one should want to share one of the most viral videos ever, and disabled all embedding. Brilliant.
So, when Ok Go put out a new album with a new "viral video" EMI once again banned embedding, apparently not realizing how this viral stuff works. Ok Go wrote about it, and basically made it clear that they'd tried over and over again to explain this stuff to Capitol/EMI, and the folks at the label simply didn't get the value of making the video viral.
Well, now, instead of allowing a real "word of mouth" viral campaign with the video, it looks like EMI/Capitol has decided to bootstrap a fake viral word of mouth campaign, by sending around emails (and even submitting directly to us) a request to "get a free Ok Go" song if you just Tweet about it. Seriously. So rather than letting people organically share what they wanted to share, EMI is trying to bribe people into promoting something else.
EMI, you're doing it wrong.
In the meantime, the platform that EMI is using for this is easily defeated. You have to log in to Twitter Connect via a special promo page, and it asks you to send a specific twitter message about how you just got a free Ok Go song... but you can edit the message to say whatever you want. And, here's a little trick: if you edit the message to be more than 140 characters, it doesn't actually send to Twitter, and you still get the free song.
And wait, didn't EMI insist in court that it never authorized free MP3s to be available online?
Anyway, the problem here is that EMI is trying to force people into doing things a specific way (not embedding, must tweet), rather than simply being open, sharing and (perhaps) suggesting they share things if they like with a friend. That's much more authentic and real. This feels very fake and corporate. You build trust by actually putting stuff out there and seeing how people respond, rather than bribing them and limiting how they can share.
Following North Face's incredibly short-sighted decision to sue parody clothing maker, South Butt, it seems that the story is going viral in a variety of ways. Not only is the press and various blogs talking about it, but Paul Alan Levy alerts us to the news that South Butt has released a Facebook app that helps you "sharpen your skills" to see if you can "tell a butt from a face." As Levy notes, this sort of application and attention gaining effort shows why these types of lawsuits are likely to bite you in the butt. Even if there's a legal basis here (and that's questionable), the backlash against such a lawsuit is clear (and was widely predicted when North Face first made its threat). Anyone filing lawsuits these days needs to realize how the court of public opinion can weigh in quite loudly on such things.
It's really stunning how often we see the wrong people being blamed for things. It seems like once the internet gets involved, government officials let their brains go away. The latest example is sent to us by reader Stack, and it involves a man in Australia who has been charged with publishing child-abuse material. What did he do? He took a video of a man swinging a baby around, that was already all over the internet, and being shown on various news programs, and uploaded it to a video sharing site, LiveLeak, which focuses on videos of news or current events. To be clear: the guy who's being charged is not the guy in the video, doesn't know the guy in the video and had absolutely nothing to do with the video whatsoever, other than uploading it to LiveLeak.
As noted, the video itself is widely available. This guy was just sharing it on yet another video sharing site... and yet he gets charged with publishing child abuse materials. Should all the news programs that are showing the video be charged as well? It's a viral video. That means people share it. It's raised some interesting and important discussions about whether or not the guy in the video was putting the baby in danger (though, the baby apparently didn't seem to mind), but to charge this guy for simply distributing the video makes no sense at all. It's yet another indication of the nanny-state mentality where governments somehow decide that people shouldn't even be allowed to see anything controversial, lest they be so weak that they immediately have to copy it. Most humans don't work that way, and one of these days, maybe government officials will figure that out.
silverscarcat: Getter Robo, Mazinger Z, Gundam (original, Zeta, ZZ, CCA, Unicorn, Turn A, Wing, G, Seed, Destiny, AGE) I don't even WATCH most of those and I know them. :p Rikuo, I suggest looking up videos of Super Robot Wars Z2 Just search for, hmm... Shin Mazinger All Attacks on Youtube Rikuo: I'm not a huge fan of mecha anime/games, at least the ones that over-focus on the giant robots, especially if the show is named after them silverscarcat: Super RObot Wars is more focused on the plots of the characters and the trials they go through. Rikuo: about the only mecha anime I've watched that I've liked is Code Geass, and that one wasn't about the robots silverscarcat: the gameplay is robots beating the tar out of each other. Rikuo: oh and Fullmetal Panic silverscarcat: Plus, Super robot wars does something that fans really like... They take a series that has a major problem and fixes it. they actually fix the problem of code Geass of the Black Knights leaving Zero. If you fulfilled the requirements to do so. Rikuo: lol just got an email from Sony, a competition to win a trip to E3 in June silverscarcat: neat Wait! Rikuo: you're sending these things a bit late, aren't you Sony? silverscarcat: I thought the public wasn't allowed at E3 anymore. Rikuo: whoever wins, more than likely, won't have the time to organize the days off from work - where I am, it's a minimum of 3 weeks notice silverscarcat: Give them an advance warning that you MAY be leaving for that time frame so they can get stuff set up just in case