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	<title>AllThingsD &#187; Metallica</title>
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		<title>Hello, Marc, Welcome to the Social Party</title>
		<link>http://allthingsd.com/20110915/hello-marc-welcome-to-the-social-party/</link>
		<comments>http://allthingsd.com/20110915/hello-marc-welcome-to-the-social-party/#comments</comments>
		<pubDate>Thu, 15 Sep 2011 22:25:49 +0000</pubDate>
		<dc:creator>Michael Lazerow</dc:creator>
				<category><![CDATA[News]]></category>
		<category><![CDATA[Social]]></category>
		<category><![CDATA[Voices]]></category>
		<category><![CDATA[Angela Ahrendts]]></category>
		<category><![CDATA[Buddy Media]]></category>
		<category><![CDATA[Burberry]]></category>
		<category><![CDATA[cloud]]></category>
		<category><![CDATA[dreamforce]]></category>
		<category><![CDATA[Facebook]]></category>
		<category><![CDATA[Jeffrey Dachis]]></category>
		<category><![CDATA[Marc Benioff]]></category>
		<category><![CDATA[Mark Zuckerberg]]></category>
		<category><![CDATA[Maubarak]]></category>
		<category><![CDATA[Metallica]]></category>
		<category><![CDATA[Michael Lazerow]]></category>
		<category><![CDATA[Quaddafi]]></category>
		<category><![CDATA[Razorfish]]></category>
		<category><![CDATA[Salesforce.com]]></category>
		<category><![CDATA[Social Business Council]]></category>
		<category><![CDATA[Susan Scrupski]]></category>
		<category><![CDATA[Twitter]]></category>
		<category><![CDATA[Will.i.am]]></category>

		<guid isPermaLink="false">http://allthingsd.com/?p=120966</guid>
		<description><![CDATA[For those of you just getting back into the swing of things from vacation, Salesforce.com staged a mega rock concert -- I mean a tech conference -- last week: 45,000 registrants, 475 sessions, 700 experts, a performance by Metallica and an after-party with will.i.am.]]></description>
			<content:encoded><![CDATA[<p>For those of you just getting back into the swing of things from vacation, Salesforce.com staged a mega rock concert &#8212; I mean a tech conference &#8212; right before Labor Day weekend: 45,000 registrants, 475 sessions, 700 experts, a performance by Metallica and an after-party with will.i.am.</p>
<p>Founder and CEO Marc Benioff outlined a simple social vision in his <a href="https://twitter.com/#!/Benioff/status/109838997710311424">opening keynote</a> that ties corporate success to the ability to connect with consumers.</p>
<p>“We were born cloud, but today we&#8217;re reborn social,&#8221; thundered Benioff.</p>
<p>He noted that customers are far outpacing businesses in adopting social technologies.</p>
<p>“Our customers and employees are being social,” he said. “What about our companies? Are our enterprises social? Am I doing enough to listen to customers and employees? It’s more important to listen than ever before.”</p>
<p>How important?</p>
<p>&#8220;We’ve seen Mubarak fall, we’ve seen Gadhafi fall,” he pronounced. “When will we see the first corporate CEO fall for the same reasons, because his or her customers are rising up or because they’re not listening to their employees?&#8221;</p>
<p>Many hailed Benioff’s speech as the start of a revolution in how businesses operate, with Salesforce.com as the social enterprise operating system.</p>
<p>One such convert was Susan Scrupski, the founder of the Social Business Council, who blogged about doubts she was starting to have about the ability for social to transform a business. Those doubts were shattered by Benioff.</p>
<p>“My crisis of faith ended on the morning of August 31, 2011,” she wrote shortly after Benioff’s keynote, in a blog post titled “<a href="http://itsinsider.com/2011/09/04/a-social-baptism-for-the-enterprise-hallelujah-and-amen/">A Social Baptism for the Enterprise. Hallelujah and Amen.</a>”  “[Benioff] killed it in his opening keynote for Dreamforce 2011 with the messaging I (and many others) have been consistently preaching for the past five years.”</p>
<p>Anyone who says Benioff’s speech wasn’t awesome is just flat out lying (or didn’t see it)! The content was dead on. His tone was upbeat. He worked the room AS HE TALKED, saying hello to at least a dozen people by name, including the CTO of Coca-Cola.</p>
<p>The supporting visual effects were flawless. </p>
<p>While dramatic and filled with pomp and prose, Benioff’s ideas were far from new.</p>
<p>His “vision” is my yesterday, today and tomorrow. He announced his company’s social rebirth in 2011 as if it were 2007 and the social enterprise movement was just starting. Meanwhile, far away from San Francisco, many of the largest corporations in the world, with whom I work and speak to regularly, are leaving social adolescence behind.</p>
<p>Even his comment about the Egyptian uprising was almost verbatim of what I said at my SXSW panel last year, “<a href="http://www.liveworld.com/socialvoice/2011/03/22/recap-facebook-attacks-panel-sxsw-2011/">How Brands Respond to Facebook Attacks.</a>” </p>
<p>Despite being somewhat short on new ideas, Benioff’s keynote was indeed a tipping point. It was a defining moment, as the most successful and philanthropic person in business software in the last decade warmed up for Metallica by confirming and validating the work we’ve done since 2007 that social will impact the enterprise in a big way. And just like he ushered in a new era of computing (cloud versus on premise), he has ushered in a new era of connecting.</p>
<p>It’s an era where customers, vendors and partners are no longer anonymous segments that you “source,” “manage” and “market to.” They are people. People you connect with. Talk to. Advocate for. Listen to. And if you’re lucky, they sell for you, solve problems for you, defend you, listen to you and build your business for you, one conversation at a time, while you sleep.</p>
<p>What another Mark (Facebook’s Zuckerberg) calls “social design,” Benioff now calls “Social Enterprise” &#8212; a term many in the industry have been using for years, and which still means many different things to many different people.</p>
<p>It’s been used since at least 2008, to be exact. Jeffrey Dachis, the co-founder of Razorfish, used the term in a headline to launch his company in April of that year &#8212; “<a href="http://www.dachisgroup.com/about/news/austin-ventures-announces-partnership-with-jeffrey-dachis-to-create-social-enterprise/">Austin Ventures Announces Partnership With Jeffrey Dachis to Create Social Enterprise.</a>”</p>
<p>“I believe there is enormous opportunity in helping companies devise and implement a strategy to engage their constituents in a meaningful dialog throughout the enterprise,” Dachis wrote three years ago. “As companies begin to see the benefits of utilizing ‘social’ technology to engage their customers, employees, suppliers, shareholders, and communities in an active and transparent dialog, they will need a trusted partner to help them navigate the opportunities.”</p>
<p>In a <a href="http://www.insidefacebook.com/2007/10/21/interview-with-clara-shih-co-creator-of-faceforce/">2007 interview with Inside Facebook</a>, Clara Shih, who wrote the book &#8220;The Facebook Era&#8221; while she was employed by Salesforce, stated, “The next generation of CRM won’t be about software. It will be about relationships, and social networking sites by design are 100 percent about relationships.”</p>
<p>This is exactly what Benioff outlined at Dreamforce (four years later!). We were a software company (“cloud”). We are now a relationship company (“social”). If Clara had stayed at Salesforce, maybe Benioff’s vision would have become a reality years ago.</p>
<p>Much of my focus at Buddy Media over the past four years has been building software that many of the world’s largest brands use to help them connect to their consumers, partners and employees.  I’ve been the direct beneficiary of exactly what Benioff and Salesforce.com is now trying to plug in to &#8212; pent-up demand from very large businesses that want technology to let them directly connect with their customers and fans, and engage them at scale.</p>
<p>Fueled by $90 million in funding and a team of software engineers that have grown up using social tools like chat, IM, text, Facebook and LinkedIn as their primary communication modes both at home and at work, we have posted 300 percent annual revenue growth by building easy-to-use but powerful enterprise social software. We went from 40 people a year ago to 200 today living Benioff’s dream.</p>
<p>In a blog post after our last round of financing, <a href="http://www.buddymedia.com/newsroom/2011/08/announcing-our-series-d-funding-to-fuel-growth/">I wrote about the exact shift Benioff highlighted at Dreamforce</a>: “We are in the midst of a massive shift online from a search and intent-based world to a social, people-based world. The last three years were about the consumer side of social platforms, as we watched Facebook, Zynga and Twitter grow exponentially. The next three years will about the enterprise side of social, and how companies engage and grow their businesses by tapping into these massive platforms.”</p>
<p>The record is now clear. All legacy software companies missed the first four years of the social wave and are trying to play catch up.  They continued to focus on business problems &#8212; sales force and marketing automation, HR management, financial compliance, expense management, content management, analytics and CRM systems.  They ignored most of what happened outside the walls of the company, with customer actions and reactions, thoughts and wants, needs and desires at the top of that list.</p>
<p>Saleforce.com started its effort last week to move from software systems to human systems. My bet is that the company gets there. But most software companies will not.</p>
<p>In the advertising and communications space, which I am most familiar with, companies don’t just want to shout. One-way marketing and blasting of messages is no longer the only tool in their box. They want to listen, engage, learn and communicate. They yearn to be more human, even though humanity and corporate America has a long history of mutual exclusivity.</p>
<p>This means that we have had to put people first, and then build features the businesses need, not the other way around. Consumers don’t care about work-flow, permissions, analytics, auditing, compliance and security features. Businesses do.</p>
<p>Burberry is a prime example, highlighted at Dreamforce, of a company that transformed itself, evolving its 155-year-old British luxury brand into a connected organization. (For an idea of how far they needed to go, one of the only people I knew who wore Burberry growing up in the suburbs of Washington, D.C., was my grandmother, Betty Myerberg, who swore by their scarves. Burberry was synonymous with British, plaid and boring, far from where they are today. I now often see lines to get in outside their store on Columbus Avenue in New York.)</p>
<p>Burberry CEO Angela Ahrendts gave advice to skeptical CEOs at Dreamforce, saying “you have to create a social enterprise today, you have to be totally connected with everyone who touches your brand. If you don&#8217;t do that, I don&#8217;t know what your business model is in five years.&#8221;</p>
<p>The irony here is that Burberry in many ways &#8220;got&#8221; social long before Salesforce. Did you know that the company has more than eight million fans on Facebook, more than four times the largest fashion magazine’s Facebook page (Vogue). Vogue no longer controls Burberry’s access to people.</p>
<p>Burberry’s stock price has increased in lockstep with its social investments in the last two years, rising close to threefold in the time period. Social media fluency is a leading indicator for stock price today.</p>
<p>In the future, all businesses will reorganize around people, as failure to connect is not an option. It’s a corporate death sentence.</p>
<p>Much of my next year will be spent with our customers, talking about how they can put people at the center of their business. Companies have always had their own social networks of customers, potential customers, friends of customers, partners, vendors, employees and more. The difference today is that tools and strategies now exist to create a virtual representation of these graphs, to uncover them and enlighten them, much like Facebook has done with each of our real-life social graphs.</p>
<p>It’s the ability to efficiently increase shareholder value &#8212; the ultimate ROI! &#8212; that makes me so excited about the next phase of social media, social marketing, the social enterprise or whatever you want to call it.</p>
<p>On behalf of Buddy Media, Dachis Group and other social enterprise leaders, I wanted to be one of the first to welcome Marc and his company, the self-proclaimed social media baby, to the social revolution. While you’re new to the party, I have no doubt that you will help companies move further and faster along the social adoption curve and have a long and prosperous social life ahead.</p>
<p>Thank you for bringing much-needed attention to our space, and together we can help companies engage in a two-way dialogue, wherever their customers live, work and play online.</p>
<p><em>Michael is currently Chairman and CEO of Buddy Media, Inc., a New York-based company whose social enterprise software is used by eight out of the top 10 global advertisers.</em></p>
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		<title>Pink Floyd Wins Court Case: Will "Money" Leave iTunes? [UPDATED]</title>
		<link>http://allthingsd.com/20100311/pink-floyd-wins-court-case-will-money-leave-itunes/</link>
		<comments>http://allthingsd.com/20100311/pink-floyd-wins-court-case-will-money-leave-itunes/#comments</comments>
		<pubDate>Thu, 11 Mar 2010 15:03:36 +0000</pubDate>
		<dc:creator>Peter Kafka</dc:creator>
				<category><![CDATA[Media]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[album]]></category>
		<category><![CDATA[Amazon]]></category>
		<category><![CDATA[Animals]]></category>
		<category><![CDATA[Apple]]></category>
		<category><![CDATA[band]]></category>
		<category><![CDATA[contract]]></category>
		<category><![CDATA[costs]]></category>
		<category><![CDATA[Dark Side of the Moon]]></category>
		<category><![CDATA[digital]]></category>
		<category><![CDATA[distribution]]></category>
		<category><![CDATA[EMI Music Group]]></category>
		<category><![CDATA[entertainment]]></category>
		<category><![CDATA[Internet]]></category>
		<category><![CDATA[iTunes]]></category>
		<category><![CDATA[MediaMemo]]></category>
		<category><![CDATA[Metallica]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[online]]></category>
		<category><![CDATA[permission]]></category>
		<category><![CDATA[Peter Kafka]]></category>
		<category><![CDATA[Pigs on the Wing Pt. 1]]></category>
		<category><![CDATA[Pink Floyd]]></category>
		<category><![CDATA[Radiohead]]></category>
		<category><![CDATA[ruling]]></category>
		<category><![CDATA[Sir Andreww Morritt]]></category>
		<category><![CDATA[songs]]></category>
		<category><![CDATA[stores]]></category>
		<category><![CDATA[time]]></category>

		<guid isPermaLink="false">http://mediamemo.allthingsd.com/?p=17273</guid>
		<description><![CDATA[Want to buy Pink Floyd's "Time" on iTunes but don't want to pay for all of "Dark Side of the Moon"? You'll want to make that purchase soon.]]></description>
			<content:encoded><![CDATA[<p><a href="http://mediamemo.allthingsd.com/files/2010/03/wish-you-were-here.jpg"><img class="alignright size-medium wp-image-17196" title="wish-you-were-here" src="http://mediamemo.allthingsd.com/files/2010/03/wish-you-were-here-275x250.jpg" alt="" width="250" height="227" /></a>Want to buy Pink Floyd&#8217;s &#8220;Time&#8221; on iTunes but don&#8217;t want to pay for all of &#8220;Dark Side of the Moon&#8221;? You&#8217;ll want to make that purchase soon.</p>
<p>A ruling in the band&#8217;s <a href="http://mediamemo.allthingsd.com/20100309/dark-side-of-the-download-pink-floyd-sues-emi-over-online-sales/">lawsuit against EMI Music Group</a> may mean that the band&#8217;s songs will only be available online in album form. <a href="http://news.bbc.co.uk/2/hi/entertainment/8561963.stm">BBC</a>:</p>
<blockquote class="memo"><p>The rock legends, signed to EMI since 1967, said their contract meant their albums could not be split up without their permission.</p>
<p>A judge agreed, saying the contract contained a clause to &#8220;preserve the artistic integrity of the albums&#8221;.</p>
<p>EMI has been ordered to pay £40,000 ($60,000) in costs, with a further fine to be decided.</p>
<p>&#8230;In court, Chancellor Sir Andrew Morritt declared that the contract means EMI is not entitled to exploit recordings by online distribution or by any other means other than the complete original album without Pink Floyd&#8217;s consent.</p></blockquote>
<p>As of this morning, you could still buy much of the band&#8217;s output on a track-by-track basis at the online music stores that Apple (AAPL) and Amazon (AMZN) run.</p>
<p>And just because the band has won the ruling doesn&#8217;t mean that&#8217;s going to stop&#8211;its entirely possible, for instance, that a check of a certain size could allay the band&#8217;s concerns. Other album-only holdouts like Metallica and Radiohead eventually held their noses and allowed their stuff to be sold by the song on iTunes, too.</p>
<p>But if you really want to buy &#8220;Pigs on the Wing Pt. 1,&#8221; but not all of <a href="http://itunes.apple.com/us/album/animals/id188506401">&#8220;Animals&#8221;</a> (apologies to fans of the album <a href="http://mediamemo.allthingsd.com/20100309/dark-side-of-the-download-pink-floyd-sues-emi-over-online-sales/#comments">I offended</a> earlier in the week), you might want to buy now, just to be safe.</p>
<p>UPDATE: EMI says it hasn&#8217;t been ordered to stop selling individual tracks, adding that this will be hashed out in the courts for a while. Here&#8217;s the full text:</p>
<blockquote class="memo"><p>Today&#8217;s judgment does not require EMI to cease making Pink Floyd&#8217;s catalogue available as single track downloads, and EMI continues to sell Pink Floyd&#8217;s music digitally and in other formats.</p>
<p>This litigation has been running for well over a year and most of its points have already been settled.</p>
<p>This week&#8217;s court hearing was around the interpretation of two contractual points, both linked to the digital sale of Pink Floyd&#8217;s music. But there are further arguments to be heard on this and the case will go on for some time.</p></blockquote>
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		<title>Does This Mean We Can Expect a Live Nation "iTunes Convenience Fee"?</title>
		<link>http://allthingsd.com/20091124/does-this-mean-we-can-expect-a-live-nation-itunes-convenience-fee/</link>
		<comments>http://allthingsd.com/20091124/does-this-mean-we-can-expect-a-live-nation-itunes-convenience-fee/#comments</comments>
		<pubDate>Tue, 24 Nov 2009 20:10:08 +0000</pubDate>
		<dc:creator>John Paczkowski</dc:creator>
				<category><![CDATA[Media]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Apple]]></category>
		<category><![CDATA[charge]]></category>
		<category><![CDATA[concert promoter]]></category>
		<category><![CDATA[convenience]]></category>
		<category><![CDATA[courtesy]]></category>
		<category><![CDATA[digital]]></category>
		<category><![CDATA[digital media]]></category>
		<category><![CDATA[entertainment]]></category>
		<category><![CDATA[exclusive]]></category>
		<category><![CDATA[innovation]]></category>
		<category><![CDATA[installed base]]></category>
		<category><![CDATA[Internet]]></category>
		<category><![CDATA[iTunes]]></category>
		<category><![CDATA[John Paczkowski]]></category>
		<category><![CDATA[Live Nation]]></category>
		<category><![CDATA[Metallica]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[one click]]></category>
		<category><![CDATA[Phish]]></category>
		<category><![CDATA[Primus]]></category>
		<category><![CDATA[purchase]]></category>
		<category><![CDATA[recording]]></category>
		<category><![CDATA[site]]></category>
		<category><![CDATA[software]]></category>
		<category><![CDATA[soundboard]]></category>
		<category><![CDATA[The Pixies]]></category>
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		<category><![CDATA[video]]></category>

		<guid isPermaLink="false">http://digitaldaily.allthingsd.com/?p=29759</guid>
		<description><![CDATA[This year, Live Nation, the world’s largest concert promoter, will put on some 22,000 live shows--each one attended by carping about the asinine “convenience” and “courtesy” charges the company likes to tack on to ticket purchases. But much as concertgoers might loathe the idea of giving Live Nation even more of their money, they may soon do so. Because beginning today, the company is offering exclusive audio and video recordings of some of its events through iTunes.]]></description>
			<content:encoded><![CDATA[<p><img src="http://digitaldaily.allthingsd.com/files/2009/11/metallica.jpg" alt="metallica" title="metallica" width="200" height="200" class="alignright size-full wp-image-29763" />This year, Live Nation, the world’s largest concert promoter, will put on some 22,000 live shows&#8211;each one attended by carping about the asinine “convenience” and “courtesy” charges the company likes to tack on to ticket purchases. Funny, isn’t it, how quickly a $28 show can become a $50 one? </p>
<p>But much as concertgoers might loathe the idea of giving Live Nation (LYV) even more of their money, they may soon do so. Because beginning today, the company is offering <a href="http://phx.corporate-ir.net/External.File?item=UGFyZW50SUQ9MjE1Mzl8Q2hpbGRJRD0tMXxUeXBlPTM=&#038;t=1">exclusive audio and video recordings of some of its events through Apple (AAPL) iTunes</a>. Prices start at $7.99, which seems astonishingly reasonable for live recordings of this quality. More so when you factor in Live Nation&#8217;s involvement.</p>
<p>Not an original idea, by any means; <a href="http://www.livemetallica.com/">Metallica</a>, <a href="http://www.primuslive.com/">Primus</a>, <a href="http://www.doolittlelive.com/page.php?pID=3">The Pixies</a>, <a href="http://www.livephish.com/">Phish</a> and others have been peddling soundboard recordings of their shows through their official sites for years now. But this is the first time, I think, that we’re seeing the live side of the music business really leverage iTunes and its massive installed base.  </p>
<p>And, let’s face it, this is a great idea, indeed. I saw two live shows in the past few months and happily paid $10 and $14 for soundboard recordings of each. But I had to spend some time seeking them out, creating a new customer profile, etc. It would have been much nicer to just fire up iTunes and buy them both with one click. </p>
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		<title>Mossberg Does Moby: Video and More!</title>
		<link>http://allthingsd.com/20090811/mossberg-does-moby/</link>
		<comments>http://allthingsd.com/20090811/mossberg-does-moby/#comments</comments>
		<pubDate>Tue, 11 Aug 2009 08:43:58 +0000</pubDate>
		<dc:creator>Kara Swisher</dc:creator>
				<category><![CDATA[Media]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[album]]></category>
		<category><![CDATA[Apple]]></category>
		<category><![CDATA[Ashley Simpson]]></category>
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		<category><![CDATA[Beatles]]></category>
		<category><![CDATA[Bill Gates]]></category>
		<category><![CDATA[BoomTown]]></category>
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		<category><![CDATA[Cher]]></category>
		<category><![CDATA[Christopher John Farley]]></category>
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		<category><![CDATA[concert]]></category>
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		<category><![CDATA[Family Guy]]></category>
		<category><![CDATA[Gershwin]]></category>
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		<category><![CDATA[intellectual property]]></category>
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		<category><![CDATA[interview]]></category>
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		<category><![CDATA[Michelle Kung]]></category>
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		<category><![CDATA[Rhapsody in Blue]]></category>
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		<guid isPermaLink="false">http://kara.allthingsd.com/?p=17393</guid>
		<description><![CDATA[Last night, onstage at Lincoln Center in Manhattan, my most excellent partner, Walt Mossberg, interviewed well-known techno musician Moby about music and entertainment in the digital age.

The wide-ranging talk was part of an ongoing cultural festival series organized by The Wall Street Journal, called Summer Scoops Live.

Here are some video clips of the event and more.]]></description>
			<content:encoded><![CDATA[<p><a href="http://kara.allthingsd.com/files/2009/08/large1.png"><img src="http://kara.allthingsd.com/files/2009/08/large1-150x150.png" alt="large1" title="large1" width="75" height="75" class="alignright size-thumbnail wp-image-17395" /></a><a href="http://kara.allthingsd.com/files/2009/08/mobysummerscoops_d_20090810175415.jpg"><img src="http://kara.allthingsd.com/files/2009/08/mobysummerscoops_d_20090810175415-150x150.jpg" alt="mobysummerscoops_d_20090810175415" title="mobysummerscoops_d_20090810175415" width="75" height="75" class="alignright size-thumbnail wp-image-17396" /></a></p>
<p>Last night, onstage at Lincoln Center in Manhattan, my most excellent partner, <a href="http://walt.allthingsd.com/">Walt Mossberg</a>, interviewed well-known techno musician Moby about music and entertainment in the digital age.</p>
<p>The wide-ranging talk was part of an ongoing cultural festival series organized by The Wall Street Journal, called <a href="http://online.wsj.com/public/page/lincoln-center.html">Summer Scoops Live</a>.</p>
<p>Here are three video clips from the event:</p>
<p><div class="video-wsj"><object width="640" height="360"><param name="movie" value="http://s.wsj.net/media/swf/microPlayer.swf"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="videoGUID=A21C31C7-564F-46E4-BD4B-67BE9CC15C9F&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/"name="microflashPlayer"></param><embed src="http://s.wsj.net/media/swf/microPlayer.swf" bgcolor="#FFFFFF" flashVars="videoGUID={A21C31C7-564F-46E4-BD4B-67BE9CC15C9F}&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/" name="microflashPlayer" width="640" height="360" seamlesstabbing="false" type="application/x-shockwave-flash" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed><br />[ See post to watch video ]</div></object></p>
<p><div class="video-wsj"><object width="640" height="360"><param name="movie" value="http://s.wsj.net/media/swf/microPlayer.swf"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="videoGUID=96F86F87-86CC-4B90-8F97-2D9F25EEA587&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/"name="microflashPlayer"></param><embed src="http://s.wsj.net/media/swf/microPlayer.swf" bgcolor="#FFFFFF" flashVars="videoGUID={96F86F87-86CC-4B90-8F97-2D9F25EEA587}&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/" name="microflashPlayer" width="640" height="360" seamlesstabbing="false" type="application/x-shockwave-flash" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed><br />[ See post to watch video ]</div></object></p>
<p><div class="video-wsj"><object width="640" height="360"><param name="movie" value="http://s.wsj.net/media/swf/microPlayer.swf"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="videoGUID=B4387FC0-024E-4D8E-92BE-109C773BB134&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/"name="microflashPlayer"></param><embed src="http://s.wsj.net/media/swf/microPlayer.swf" bgcolor="#FFFFFF" flashVars="videoGUID={B4387FC0-024E-4D8E-92BE-109C773BB134}&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/" name="microflashPlayer" width="640" height="360" seamlesstabbing="false" type="application/x-shockwave-flash" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed><br />[ See post to watch video ]</div></object></p>
<p>If you prefer to read, here is a <a href="http://blogs.wsj.com/speakeasy/2009/08/10/walt-mossberg-moby-go-mano-a-mano-at-summer-scoops-live/">live blog that Michelle Kung did of the event</a> to enjoy:</p>
<blockquote class="memo"><p><strong>7:30 p.m.</strong>&#8211;Out of the steaming heat and into the cool, air-conditioned confines of Lincoln Center&#8217;s Stanley H. Kaplan Penthouse.</p>
<p><strong>7:39 p.m.</strong>&#8211;The lights dim and Moby and Mossberg make their entrances. Moby slinks down in his chair (&#8220;Am I greasy, or is it the chair?&#8221;) just before WSJ culture editor Christopher John Farley introduces the pair.</p>
<p><strong>7:43 p.m.</strong>&#8211;Mossberg plugs his son, who&#8217;s in a band, before asking Moby&#8211;whose real name is Richard Melville Hall&#8211;if he is really related to &#8220;Moby Dick&#8221; author Herman Melville. Moby replies that that is what his parents have always told him and explains the origins of his moniker: &#8220;When I was 11 minutes old, my parents looked at me and I was this little grub of a baby and my mother said, Richard Melville Hall is a very grown up name, and my father said jokingly, let’s call him &#8216;Moby.&#8217; All these years later, I still have this name I’ve have from infancy.&#8221;</p>
<p><strong>7:46 p.m.</strong>&#8211;Mossberg asks Moby, in between jokes about being both being bald-ish, about the difference between &#8220;Play&#8221; and his new album, &#8220;Wait for Me.&#8221; Moby begins by talking about how the success of &#8220;Play&#8221; completely surprised him, because he was considered a &#8220;has been&#8221; by the time the album was originally released in the early 1990s and that Rolling Stone refused to review the album. His success with the album also confused him, because he was unsure of his next step&#8211;was he supposed to listen to the label now? To the fans? To himself?</p>
<p>&#8220;Wait for Me,&#8221; his ninth studio album, was designed as a return to simplicity, and created with old instruments&#8211;many of which were purchased on eBay&#8211;in his bedroom in Manhattan. When Mossberg asks Moby to clarity what he means by &#8220;his bedroom,&#8221; the musicians lays out out his floorplan&#8211;he lives in a two-bedroom apartment on Mott Street and with a small space (&#8220;two people starts to feel claustrophobic&#8221;) set aside for his music work.</p>
<p><strong>7:52 p.m.</strong>&#8211;Moby uses a Mossberg question as an excuse to slam Jay Leno, whom he calls the &#8220;least prepared interviewer.&#8221; He fakes a Leno voice, and mock interviews: &#8220;So Moby, you have a new record. Tell me about it.&#8221; Mossberg interjects, &#8220;So I have a low bar?&#8221; to the delight of the crowd.</p>
<p><strong>7:53 p.m.</strong>&#8211;Mossberg asks Moby how he used technology in &#8220;Wait for Me.&#8221; Moby begins by explaining that while he loves technology, he don’t fetishize it like some of his friends. &#8220;I have an 18&#8243; flat screen TV. A bigger screen doesn&#8217;t make TV any better. &#8216;Family Guy&#8217; is still funny on a little TV. If it works and doesn&#8217;t cause me undue stress, I love it.&#8217;</p>
<p><strong>7:55 p.m.</strong>&#8211;Moby launches into an explanation of what  Pro Tools and plugins are, and how thanks to this nifty recording/mixing operating system, he can take prerecorded &#8220;notes&#8221; that have been recorded abroad, say, in places like Vienna, and then recreate a 60-piece orchestra on his keyboard.</p>
<p><strong>7:59 p.m.</strong>&#8211;On to issues of intellectual property. Moby says: &#8220;I don&#8217;t mind when people pirate my music&#8211;if you want to steal my music, more power to you.&#8221; Mossberg immediately asks, &#8220;Why?&#8221; And he deadpans, &#8220;Deep-seated emotional issues.&#8221; He then goes on to explain that personally, he&#8217;s so honored that people want to listen to his music, he doesn’t want to restrict access to it. &#8220;I don’t have alimony, I don’t need insulin…I don&#8217;t have crystal meth problems.&#8221; Thus, he personally doesn&#8217;t mind, but he can only speak for himself. But to clarify, he does want you to buy his album so his friends at the label are happy.</p>
<p><strong>8:04 p.m.</strong>&#8211;Mossberg and Moby discuss the RIAA’s decision to sue customers. Moby says that it&#8217;s never been cheaper to make music, videos, and promote albums. EMI, he thinks, broke even. So why are they alienating their customers?</p>
<p><strong>8:06 p.m.</strong>&#8211;Blind item alert! Moby says that a few years ago, he was talking to a record label head, and when he asked the top honcho about their iTunes plan for their biggest star&#8217;s newest album, he was told, oh, we&#8217;re going to wait a couple months.</p>
<p>Moby then launches into philosophy mode and brings up the is/ought fallacy to illustrate his point, noting that the current music model &#8220;underpins the failure of major labels&#8211;they think, it used to be this way, so it ought to be this way.&#8221; Their ethos is, &#8220;Please go away. Make the future die.&#8221; Mossberg suggests he write a song/album with that title. Moby quips back with &#8220;Young People Suck&#8221; as a potential label-inspired tune.</p>
<p><strong>8:12 p.m.</strong>&#8211;Moby adds a qualifier to his comments, touting Mute, his own record label. &#8220;Mute is wonderful, and they care about music&#8211;it&#8217;s the big major labels who have been egregiously bad stewards of music. It&#8217;s hard to feel bad for them when they&#8217;ve brought us some of the worst music ever created.&#8221; He then gets in a dig at Lars Ulrich of Metallica, saying that if he needs a &#8220;fur-lined walking humidor,&#8221; that’s him.</p>
<p><strong>8:15 p.m.</strong>&#8211;Moby asks the audience if he can get pedantic for a moment. They cheer their assent. He then launches into a story about the early days of the Beatles, a band that got &#8220;lucky&#8221; because everything they did was in mono. &#8220;The first &#8216;Meet the Beatles&#8217; was recorded in four hours. They played the songs and it was done.&#8221; He explains how this is not possible anymore.</p>
<p><strong>8:18 p.m.</strong>&#8211;Yay! Moving on to a discussion about  Auto-Tune, which &#8220;enables anyone to fake perfect pitch.&#8221; Moby declines to name names in his anecdotes, because he has enough feuds already, but singles out Cher’s &#8220;I Believe&#8221; as the first of the supremely auto-tuned songs, and mourns how kids can&#8217;t recognize real singing anymore. Next, a discussion of playback, aka the technology that failed Ashlee Simpson when she was reduced to her now infamous hoedown on &#8220;Saturday Night Live.&#8221;</p>
<p><strong>8:23 p.m.</strong>&#8211;Memory lane for Mossberg. He recalls seeing the Supremes, and Simon &#038; Garfunkel in the &#8217;60s for $3/ticket in a gym, and how the concerts back then used to sound just like the album. But everything is much more complicated now.</p>
<p><strong>8:25 p.m.</strong>&#8211;Moby talks about how he plays to bigger crowds in Europe, and how he can enjoy the concert experience. Playing in front of a big crowd, he says, with big production values, is the musician&#8217;s equivalent of playing the big penis card.</p>
<p><strong>8:28 p.m.</strong>&#8211;Mossberg asks: When you make music, do you have to consider the fact that it&#8217;s going to be listened to on [Apple] iPods and [Microsoft] Zunes? Moby says sadly yes, and tells a story about how super-processed music works on the subway, because the noise of the L train doesn&#8217;t interfere with, say, a song by Rihanna, but the subtleties of Gershwin&#8217;s &#8220;Rhapsody in Blue&#8221; will get lost.</p>
<p><strong>8:32 p.m.</strong>&#8211;Mossberg moves on to playing a snippet of the song &#8220;Pale Horses&#8221; from &#8220;Wait for Me&#8221; because we&#8217;re running late, and Moby says he has to pee&#8211;&#8221;Syphilis is a demanding mistress.&#8221; Mossberg: &#8220;Bill Gates doesn&#8217;t say that to me…I can&#8217;t believe I&#8217;m defending Microsoft.” Moby: &#8220;I&#8217;m just saying the Zune is clumsy as hell.&#8221; [For those lacking the implied sarcasm, Moby clarifies later on that he does not, in fact, have syphilis.]</p>
<p>Moby on &#8220;Pale Horses&#8221; and many of his other songs: 80% of the work is done in a couple days, but it&#8217;s the finishing stuff that is what really takes a really long time. To get the job done, he holes himself with the music&#8211;&#8221;Hopefully, a more benign version of Ted Kaczynski during the creative process.&#8221;</p>
<p><strong>8:40 p.m.</strong>&#8211;Audience Q&#038;A time. Moby is asked about his licensing deals, and says he doesn&#8217;t license music anymore, because he&#8217;s sick of being the whipping boy for the process. Which is ironic, because everyone&#8217;s selling out now. He adds that he initially licensed the music for &#8220;Play,&#8221; because it allowed more people to hear the album.</p>
<p><strong>8:46 p.m.</strong>&#8211;Moby interrupts a question-asker to comment on how he wishes the stage were against the left window like a previous panel he was on, so everyone could get a glimpse of the view. The questioner then proceeds to take out a Chilean flag and hold it up before asking Moby if there&#8217;s relationship between his music and the cosmos. The short answer? Yes.</p>
<p><strong>8:51 p.m.</strong>&#8211;Mossberg sums up the evening and offers kudos to Moby for sharing his time and process.</p>
<p><strong>8:52 p.m.</strong>&#8211;Moby plugs a new tour date in Williamsburg, Brooklyn. And good night everybody!</p></blockquote>
<p>And, here is a rather unusual cartoon video of Moby being interviewed by a dog that the Journal did:</p>
<p><div class="video-wsj"><object width="640" height="360"><param name="movie" value="http://s.wsj.net/media/swf/microPlayer.swf"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="videoGUID=8B471F62-5E5C-4354-8D88-3C226B807897&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/"name="microflashPlayer"></param><embed src="http://s.wsj.net/media/swf/microPlayer.swf" bgcolor="#FFFFFF" flashVars="videoGUID={8B471F62-5E5C-4354-8D88-3C226B807897}&playerid=4001&plyMediaEnabled=1&configURL=http://m.wsj.net/video-players/&autoStart=false" base="http://s.wsj.net/media/swf/" name="microflashPlayer" width="640" height="360" seamlesstabbing="false" type="application/x-shockwave-flash" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed><br />[ See post to watch video ]</div></object></p>
<p>And, here is a video of Moby last week, talking about the digital impact of the music, in an interview on the Leonard Lopate radio show on WNYC:</p>
<p><object width="320" height="265"><param name="movie" value="http://www.youtube.com/v/cA9SQZOq0nc&#038;color1=0xb1b1b1&#038;color2=0xcfcfcf&#038;hl=en&#038;feature=player_embedded&#038;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/cA9SQZOq0nc&#038;color1=0xb1b1b1&#038;color2=0xcfcfcf&#038;hl=en&#038;feature=player_embedded&#038;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="320" height="265"></embed></object></p>
<p>Finally, here is a <a href="http://flavorwire.com/32857/exclusive-qa-with-wsj-tech-expert-walt-mossberg-moby">Q&#038;A that Walt did with Flavorpill&#8217;s Caroline Stanley</a> about a range of tech trends, as a preview to the event.</p>
<p><em>[Moby photo credit: AFP/Getty]</em></p>
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