If you didn’t know any better, you’d think the publishing impresario was feeling just a titch…defensive.

But Thursday night, Denton hosted a gathering of 100-plus chitty-chatty newsish media types at his SoHo loft, and there he seemed quite confident again. Midway through his cocktail party, he dimmed the lights, clambered up on a windowsill and toasted his sales team, his technical team and his writers. As well as former New York congressman Chris Lee.

And then he played us this movie, which shows quite clearly what he’s trying to do with his properties. He wants to morph them from “blogs” into something more ambitious, but also older: He wants them to be like TV.

A Day in the Life of Gawker Media – FINAL from source/record on Vimeo.

Google says its single fastest-rising search term of the year was “Chatroulette,” which peaked way back in March. However, it appears from the explainer page that Google may have included searches for the generic term “chat” in the category.

Also on the fastest-rising list (as compared with 2009′s) were the iPad; pop stars Justin Bieber, Nicki Minaj and Katy Perry; the social sites Twitter and Facebook; the ringtone site Myxer; and the game sites Friv (extremely popular in Albania and Colombia) and GameZer (big in the Middle East). Less popular this year were swine flu, New Moon and Myspace Layouts.

Starting tomorrow, users who want to participate can download a new browser extension called the Meebo MiniBar. Starting in December, Web sites can add check-ins through embeddable buttons and the Meebo Bar itself (which counts 8,000 publisher users, with a combined 180 million uniques). Brands such as Macy’s, Sprint and L’Oréal Professionnel have already committed to participate.

To check in on Meebo, a user will need to have a Meebo account. The idea is for people to be motivated to share in order to become VIPs on the sites they visit often (another extension of the Foursquare metaphor). Users can also subscribe to feeds of people who like similar Web sites so they can find new places to visit.

This is not a new idea–if you take the pitch and replace the term “checking in” with “social bookmarking” you’ll find a pile of (mostly discarded) companies. More specifically, back when OneRiot was called Me.dium it launched just such an extension in 2006, and the current start-up Badgeville makes a white-label loyalty platform for publishers. And Facebook, of course, has its “like” system of allowing users to subscribe to Web sites and brands.

No one seems to spend much time talking about it anymore. For good reason: In large part because Steve Jobs insisted on it, “online video” increasingly means “HTML5-compatible.” There’s not much to debate anymore.

Video search engine MeFeedia, for instance, says that 54 percent of Web video is now compatible with HTML5. That’s more than double the tally the company had back in May–less than six months ago. And because MeFeedia’s numbers include old archival stuff that most people don’t watch, as well as big troves of Chinese video you’re unlikely to see, the practical number for most Web surfers is much higher.

Then again, it isn’t hard to find Web video that isn’t compatible with your iPad or iPhone–or your Android handset from Google, either. And once you do, the fact that the clip is in the statistical minority won’t make you feel any better. Even some sites that Apple says are “iPad-ready,” like the New York Times, have plenty of video that won’t work on Apple’s device or any other HMTL5 player.

MeFeedia highlights these HTML5 holdouts:

• Full episodes from the major TV Networks (including Hulu)
• Most cable network content, particularly long-form video
• Metacafe, MySpace Video, 5min
• Live video sites such as Ustream and Justin.tv
• International sites such as Tu.tv, Youku, and Sevenload

But as the Hulu example shows us quite clearly, the HTML5 gaps that exist today are usually there because of business reasons, not technical ones: Hulu is quite happy to provide you with HTML5 video on your iPad–if you’re willing to pay (something) for a Hulu Plus subscription.

So, sorry iPad users (and yes, international visitors on good old-fashioned PCs)–you won’t be able to see this clip:

About.me ties together users’ other social-networking sites and includes analytics that let users track things like how many people viewed their About.me page and which social-networking profiles they viewed from there.

In other words, it allows people to market themselves with a photo and links to their other online “selves.” Other social-networking sites point to just one aspect of a person, but the About.me home splash page “satisfies some kind of void” to give people a more rounded online brand, said About.me co-founder Tony Conrad. The pages, which are more ad-like than profile-like, can have links to Twitter, Facebook, LinkedIn, email, Foursquare and personal blogs.

About.me is also based on Mr. Conrad’s hypothesis that “people have a borderline obsession with looking at data of themselves,” he says. “It’s like holding a mirror up to yourself and saying, ‘Oh, that’s what my digital online life looks like.’”

Read the rest of this post on the original site

But! To be fair! There were lots of people on the Web yesterday during the game.

How many? I haven’t seen a number yet. But Akamai (AKAM), which serves up Web pages to a good chunk of the globe, says yesterday’s game generated the most traffic it has seen during the tournament so far. Since the game was being played concurrently with the England-Slovenia match, that’s not a surprise either–the news would be if traffic didn’t peak because of the two games.

For the record, Akamai says traffic to the two dozen sites that make up its World Cup Index–sites that either stream the games or are affiliated with TV networks that air the games–climbed throughout the U.S. game.

At the traffic’s peak, after Landon Donovan’s goal, the index was recording 440,000 hits per second. Then it kept climbing: At 12:15 Eastern time, a good 20 minutes after the game ended, Akamai was recording 451,000 hits per second.

And now–sort-of informative graphs (click images to enlarge)!

Start of U.S.-Algeria game:

Near end of game:

Game over:

That’s a pretty significant change for the company, which has previously allowed anyone to do just about anything with its data, without asking for a cent.

But that’s over, based on the new terms of service the company released today. The relevant excerpt:

In cases where Twitter content is the basis (in whole or in part) of the advertising sale, we require you to compensate us (recoupable against any fees payable to Twitter for data licensing).

That’s potentially a big deal. It’s also quite vague. And after talking to Twitter COO Dick Costolo this afternoon, I’m pretty sure that vagueness is intentional. Because I’m not sure Twitter knows exactly how it wants to proceed.

But I did extract some specifics from Costolo:

• Twitter is only focused on sites and services that sell ads against its stream. So if your service doesn’t generate revenue, or does so using something other than ads (i.e., subscriptions, analytics packages, etc.), you’re fine.
• If you do have to pay up, there are a couple of different ways to do it: You could cut Twitter in via a revenue split or agree to license its data stream, which has generally been free up until now. Or you could agree to use Twitter’s own “Promoted Tweets” ad service. Or some combination of the above.
• Costolo says the company hasn’t established a minimum fee, revenue split or another metric for payments. So a lot of this is going to get hammered out case by case.

Okay. But who, exactly, is going to have to pay up? Twitter’s terms aren’t clear, and while I went around and around with Costolo about this over the phone, I’m still not sure. Because I don’t think Twitter is sure.

Start with the easy stuff: If there’s nothing else in your service beyond tweets and you’re selling ads against those tweets, you could be paying.

“When we’re talking about cases where Twitter is clearly a key component of how a page is monetized, we need to have a commercial relationship,” Costolo said.

That sure sounds like TweetUp, the new “AdSense for Tweets” product that launched today, despite what CEO Bill Gross told me this morning. And it doesn’t sound like Muck Rack, a Twitter aggregation site owned by Sawhorse Media–because there aren’t any ads on Muck Rack. But if owner Greg Galant decided to start running Google (GOOG) AdSense ads on his pages, he might end up paying.

Except that Twitter says it’s not looking to find all the developers and publishers out there selling ads against the Twitter stream and tax them. Size matters, for one thing.

“We’re not trying to prevent people from building businesses,” says Tony Wang, a Twitter business development executive who joined my call with Costolo today. “We’re saying if there’s this thing you’re doing, and you’re selling ads against it, and it’s really big, we want to participate in that.”

So is Twitter only interested in really big publishers who use Twitter? Not necessarily. I asked Costolo about the Huffington Post, which has prominently embraced Twitter and uses it frequently to fill out its pages. Like this Twitter widget under a grisly story about a gored bullfighter (careful!).

That’s probably fine, Costolo said. But what about Huffpo’s “Twitter editions,” which are primarily made up of tweets? I’ve asked Costolo about those in a follow-up email, but haven’t heard back yet. My gut: He’s not sure yet. Which is going to make for lots of interesting conversations in the coming weeks and months.

UPDATE: Here’s Costolo’s response, via e-mail, on the Huffpo question. Not surprisingly, he heaps praise on a big Web site that helps Twitter increase its distribution. Though note he does mention plans to “monetize…together”:

HuffPo’s Twitter Edition pages are an awesome example of why those guys are one of our most innovative partners. We actively support and encourage those efforts, and look forward to working with them to monetize these opportunities together. In fact, I think they will play an important role in helping define smart approaches to advertising around Twitter-driven content.

It’s reasonable enough for Twitter to start trying to make money via companies that are making money via Twitter–it’s a move many outsiders have been calling for the company to make for some time. But it wouldn’t be Twitter if this was a straightforward process. Get ready for a bumpy ride.

UPDATE 2: After a day of discussion, Twitter has tweaked its language in its terms of service, swapping out  “In cases where Twitter content is the basis (in whole or in part) of the advertising sale” with “In cases where Twitter content is the primary basis of the advertising sale”.

What does that mean? Here’s Costolo, via email: “The policy remains the same — if Twitter content is the primary basis of the advertising sale, we require a commercial relationship. It’s important to note that just because there is Twitter content on a site, for example a Twitter widget, that does not mean we will require a commercial relationship. We encourage folks to find innovative ways to display Twitter content, and we aren’t interested in tracking down each and every implementation in order to be compensated.”

Here’s

That’s what Universal Music Group is hoping. The world’s biggest music label is pushing a plan to sell all its CDs at a retail price of $10 or less, Billboard reports. Given that all the big labels are currently selling discs at wholesale prices of $10 to $12, that’s a big price chop.

(An update from UMG, which says it hasn’t committed to the new pricing: “This test comes after extensive consumer research and conversations with our retail partners, and we will be looking at such variables as greater selection at sharper pricing on front-line releases. We expect to begin the test in Q2.”)

And it has been a long time coming, since on the Web, the price of an album ranges from nothing (via legal streaming sites and pirate services) to $9.99 or so on Apple’s (AAPL) iTunes.

You could argue that people still buying physical discs are unlikely to be comparing prices with digital alternatives. But there is indeed evidence that consumers respond to cheaper discs. Billboard relays the example of Trans World Entertainment (TWMC), which runs the F.Y.E. and Coconuts chains:

In the last few months, Trans World Entertainment began testing the $9.99 price point in over 100 stores, while Wal-Mart has been telling the majors to release shorter albums at lower prices more frequently.

The Trans World test–in which most independents and every major except for the Warner Music Group participated–produced units sales increase of more than 100%, according to label executives who participated in the tests. The Trans World test helped sell the new pricing model to the Universal labels, sources say.

On the reluctance by other majors to so far address the $10 retail price point issue, one source says, “The definition of idiocy is doing the same thing over and over and expecting a different result. Things are not going to get better for CD sales unless the price point is addressed. One thing that the Trans World test shows for sure, $10 will drive sales and traffic.”

Hence, today’s brief flurry of reports echoing Radar Online’s scoop that Supreme Court Chief Justice John Roberts was “seriously considering stepping down” for “personal reasons.”

The story, which was published early this morning, is not true. And it was ignored until lunchtime on the East Coast, when the Drudge Report picked it up. At that point it became open game for a host of smaller sites, which picked it up with varying degrees of credulity.

Radar has since reversed the story, noting that it “has obtained new information that Justice Roberts will NOT resign. The justice will be staying on the bench.” The site has yet to update its headline, though, which is still trumpeting its “exclusive.”

Radar is a media gossip site/magazine that has gone through several permutations over the years. In its current incarnation, it’s an online-only property owned by American Media Inc., the people who bring you the National Enquirer, among other properties.

But while the Enquirer has a history of getting some big political stories right over the years, Radar doesn’t. It generally sticks to stuff like photos of the “Jersey Shore” dudes taking off their clothes. Probably a good strategy going forward.

That’s per Huffpo’s own numbers, served up by Google Analytics (GOOG). And as usual, outside auditors provide a different number. ComScore’s (SCOR) January numbers put the site at 26.4 million unique visitors (see breakdown at bottom of this post).

But no matter how you count it, there’s now a really, really big audience for a site the smart set derided as a vanity project for Arianna Huffington when it launched in 2005.

You may also recall predictions that Huffpo would wither after the 2008 elections, but that hasn’t happened either. So what’s driving the growth?

Verticals, says Huffington–the mini-Huffpos the site has been pumping out on a regular basis. The site’s technology and sports sections, for instance, didn’t exist six months ago. Now they account for 10 percent of Huffpo’s traffic, she says. (Did you know ultimate fighter Chuck Liddell has a nude workout tape?)

Other big hits: Comedy (up 58 percent in the last six months), style (37 percent), entertainment (25 percent).

Huffington was less boastful about the site’s attempts to roll out local sections. That started with Chicago in August 2008, and now includes Denver, Los Angeles and New York.

But she’s not sure where that will go next: “This year [we] have prioritized launching other sections, which has been a great decision,” she says. It’s possible that Huffpo will launch more local sites, or it may partner with other sites instead.

Huffington’s competitors and/or detractors would also want to point to the site’s team of technology wizards, which allow it to extract the maximum value out of a relatively small (100 full-time employees) staff. Huffpo has mastered the art of turning other people’s work into its own stories and eyeballs.

But eyeballs are eyeballs. Next up: Turning them  into dollars. That’s up to sales boss Greg Coleman and his brigade of Yahoo (YHOO) veterans.

Google announced plans to buy DoubleClick for $3 billion three years ago and finally closed on the deal a year later. Now the search giant has finally overhauled the display advertising company to its liking. Get ready for big stuff.

That’s the translation behind Google’s announcement this morning that it has upgraded its ad-serving platforms for publishers, by combining two related businesses: Its home-grown Google Ad Manager and Doubleclick’s Dart system.

Google’s statement (full text below) doesn’t have a lot of details, and those that are there won’t mean much if you’re not in the ad tech world.

If you are, the news that Google has fully integrated DoubleClick with its infrastructure will be meaningful because you can expect innovations and features to start rolling out in future weeks and months. Neal Mohan, Google’s VP of product management, says his team has already invested “thousands and thousands of engineering hours” in the upgrade.

In the near term, Google’s announcement also has a direct impact on start-ups like Rubicon and PubMatic, whose core business is built on helping publishers sell their inventory to multiple ad networks.

Google (GOOG) has more or less ignored that business for some time, but now the company is boasting that it can handle those duties in addition to a suite of other services. Translation: That’s a cute business you guys have built over there. We’ll be taking it now.

Perhaps it’s not a coincidence, then, that Rubicon made an oblique announcement last week that was more or less an attack on Google.

Here’s the full text of Google’s announcement:

Google releases its next-generation ad serving platform for publishers

Key points

• Google announces upgraded ad serving platform, DoubleClick for Publishers (DFP)
• Part of a full suite of products to help publishers maximize online advertising revenues
• New DoubleClick logo unveiled

Today, as part of its efforts to help online publishers maximize advertising revenues from their website content, Google announced its upgraded ad serving platform for publishers–DoubleClick for Publishers (DFP).

DFP is a single platform that upgrades and will replace Google’s existing ad serving products: DoubleClick’s DART for Publishers and Google Ad Manager. The upgraded DFP combines Google’s technology and infrastructure with DoubleClick’s display advertising and ad serving experience.

For larger online publishers, managing, delivering and measuring the performance of ads can be a hugely complicated process. Major online publishers (including social networks, entertainment sites, portals and news sites) use ad serving to manage the complex process of how and when the ads they have sold appear on their websites.

Neal Mohan, Vice President of Product Management at Google, said:

“Google wants to help online publishers make the most money possible from their content. The upgraded DFP is part of our suite of products that are designed to help online publishers maximize their advertising revenues. Ad serving is the machinery that powers the online advertising world, so improving that technology can put a lot of money in publishers’ pockets. This upgraded platform is another major milestone in our continuing investment in the display advertising ecosystem.”

The upgraded DFP is part of Google’s suite of products–also including AdSense and the DoubleClick Ad Exchange–to help online publishers maximize their advertising revenues across all their ad space, whatever their size and however they choose to sell their ad space.

It includes a wide variety of key features that will help enable publishers to get the most value out of their online content:

• A new interface that has been completely redesigned to save time and reduce errors.
• Far more detailed reporting and forecasting data to help publishers understand  where their revenue is coming from and what ads are most valuable.
• Sophisticated algorithms that automatically improve ad performance and delivery.
• A new, open, public API which enables publishers to build and integrate their own apps with DFP, or integrate apps created for DFP by a growing third-party developer community (apps under development today include sales, order management and workflow tools).
• Integration with the new DoubleClick Ad Exchange’s “dynamic allocation” feature, which maximizes revenue by enabling publishers to open up their ad space to bids from multiple ad networks. Dynamic allocation is described in this document [pdf].

DFP comes in two flavors, tailored for different publishers’ needs:

• DFP–for larger online publishers, to which current DART for Publishers customers will be upgraded over the next year.
• DFP Small Business–a simple, free version designed for growing online publishers, to which we will be migrating Google Ad Manager customers.

To reflect Google’s continued investment in DoubleClick’s products and the central role of DoubleClick’s technology products within Google’s display advertising business, Google is also today unveiling some changes to the DoubleClick logos–including typset changes, incorporating a new “by Google” theme, and retiring the “DART” brand.

So are a lot of reports about the reports of his death, which pin the blame on Twitter. Or in the case of the New York Daily News, something called a “Twitter blogging service.”

The original rumor that Lightfoot was dead may or may not have originated on Twitter–his road manager seems to think it was via “a Twitter coming out of Ottawa.” But that seems both very specific and hard to prove. If anyone can, please let me know.

But say it is true. Twitter still didn’t force Canwest, the big Canadian media conglomerate, to publish a wire report that said the singer was dead. As best I can tell, it was that story, which was picked up by various Canwest newspaper sites, that convinced people Lightfoot had croaked.

Here’s Canwest’s description of what happened:

After false rumours of Lightfoot’s death initially emerged online, Hawkins [musician Ronnie Hawkins, a friend of Lightfoot] was contacted by a Canwest reporter. In that interview, Hawkins reported that Lightfoot was dead. Based on that information, Canwest News Service sent out an alert and short story on the wire which reported Lightfoot’s death. Within minutes, Canwest was contacted by a representative close to Lightfoot who said that news of his demise was untrue. That prompted another alert on the wire which said the previous story should be disregarded because there were conflicting accounts about Lightfoot’s health.

About 30 minutes later, Canwest spoke to Lightfoot’s tour manager, [Bernie] Fiedler, and immediately moved another story on the wire reporting the singer’s death was a hoax.

In Twitter time, 30 minutes is forever, of course. And it was the first Canwest story and alert, which were indeed distributed via Twitter, that really fueled this thing. But blaming Twitter for quickly spreading a mainstream news organization’s story is a stretch.

Here’s some pithy perspective from Doug Saunders, a Canadian journalist who doesn’t work for Canwest. It comes to us via Twitter, naturally:

If a media snafu causes you to debate the role of Twitter, imagine it’s 90 years ago and instead of Twitter you’re saying “the telephone… Hearing some rumour and printing it as truth is unrelated to tech used to circulate that rumour. Same happened, faster, in 1780s.

If you’re itching to confirm Lightfoot’s health yourself, you can listen to an impromptu interview the singer conducted yesterday with a Toronto radio station. And I hope to see him make a Goldblumesque appearance on “The Colbert Report” very soon.

Until then, here’s the obligatory blast from the past:

“A Google approach to sharing,” Buzz is designed to, in the words of Bradley Horowitz, VP of Product Management, “find the signal in the social networking noise.”

The service exists within Gmail and promises to bring the social network that Google (GOOG) says always existed beneath the email service to the surface.

“The stream of social messages has become a torrent,” said Horowitz. “There is no way to parse that amount of information that ranges from the ridiculous to the sublime. We think this has become a Google-scale problem.”

Hence, Buzz.

Buzz taps into the torrent via the sort of feature set you’d expect: auto-following, which turns Gmail contact lists into social networks (which seems to me a horrifically bad idea; Like most folks, I imagine I have quite a few contacts I absolutely do NOT want to included in my social network); public and private sharing options; support of the “@ reply” feature popularized by Twitter; and a feature called “Recommended Buzz” that allows users to endorse updates they enjoy. The service also strives to make it easy to enhance those updates with content from other sites–Flickr, Picasa, YouTube and, yes, Twitter (no Facebook, though–yet).

Buzz, which launches Tuesday, is closely tied to Google’s mobile ambitions. It will debut in concert with a Web app for Android and iPhone and an enhancement to Google Maps for Mobile that will use GPS data to associate public Buzz content posted from mobile phones with location.

Google is the latest search company to try to graft social-networking features onto email service. Yahoo did it last year by adding “status casting,” its variation on Twitter, to Yahoo Mail. That feature has been mostly ignored since its debut. Perhaps Google’s effort will fare a bit better. It is, perhaps, the one company with enough heft and market power to reasonably take on Facebook. But it won’t be easy: Facebook has some 400 million unique users. Gmail, about 176 million.

Still, embrace and extend. Embrace and extend.

The deal to bring Eun on board was finalized last night, Armstrong told employees in an all-hands email (see below). It’s not a huge shock to see him leave–he’s done a lot of heavy lifting there already, and sources say that like many Google (GOOG) executives who have left recently, Eun felt he couldn’t move much higher in the company.

Eun used to have a role that paralleled Armstrong’s at Google: Make peace with traditional content companies. But instead of trying to sell them ads or negotiate search deals, Eun was supposed to hammer out deals to help get their content onto Google. Most recently, he was focused on getting TV networks and movie studios to put stuff on YouTube, which involved new ad-supported deals (see: Turner, ESPN, etc.) as well as the possibility of renting clips by the stream.

Wilson is a longtime AOL (AOL) guy who rose up the ranks and was pushing for the original content strategy that Armstrong embraced even before the last regime change. He seems to be leaving on better terms than other pre-Armstrong executives, as he’ll be staying with the company until May to manage the transition.

By leaving just as AOL has spun off on its own, Wilson is giving up a chance at some significant upside via low-priced stock options. But sources say Wilson doesn’t have another job lined up.

In an interview this afternoon, Armstrong says that Wilson approached him about leaving the company “several weeks ago”. When I asked him if Eun’s last role–developing partnerships with big media outlets–signaled a shift in AOL’s “roll your own–cheaply” strategy, he made a point of saying that’s not the case. Eun’s hire will simply “supercharge” AOL content plans, he said.

Nonetheless, Armstrong did allow that AOL has some significant content partnerships to announce in the coming months.

Here’s an interview I conducted with Eun late last year, focused on YouTube’s efforts to turn a profit and add new content:

And here’s Armstrong’s note to the troops:

As you know, content is at the core of our strategy and we have broad aspirations in this space. We’re focused on scaling our content platforms, production and partnerships to offer quality, original content that will engage consumers and bring them–and their friends–back to our properties time and again.

The fact that we have such a strong foundation in the content space is due to the determination and dedication of Bill Wilson. He saw the opportunity presented by audience fragmentation on the Web and positioned AOL’s content offerings in a number of key verticals. Early in the new year, Bill told me that although he remains committed to the vision and strategy of AOL, he’s ready for a break.

After nine years with the company and after the significant changes we made this year moving from licensing content to becoming a principle in content, he wants to take a step back. Bill built a strong management team and laid the groundwork for the content strategy that we’re now pursuing. While I’m disappointed by his decision, I respect his intent and have asked him to work with me, not only to find his replacement but also to transition with that person to ensure that, as a company, we don’t miss a beat on the execution of our content strategy.

Bill is a talented executive and great person, and I’ll be working with him closely and supporting his transition. Bill cares about AOL, he cares about the content and the products, and he has worked incredibly hard to keep AOL on the media map.

I’m pleased to announce that David Eun will be coming on board in March to head up our content business. Some of you may remember David from his tenure at Time Warner where he helped to oversee AOL as Vice President, Operations, for the Media & Communications Group reporting to Don Logan.

David, who joins us now from YouTube and Google, has had a long career in offline and online content and is the person responsible for managing Google and YouTube’s content partnerships. David brings an impressive breadth of media experience to AOL at an exciting juncture as AOL forges a new future as a high-scale producer and partner in the content space. He will be based in New York.

Bill will be staying on until May 1 to help ensure a smooth transition with David, who begins work March 1.

You may wonder why this topic wasn’t raised during yesterday’s Q4 employee call. My preference is always to share this type of news with you in person, but the facts are that there were elements of this announcement that were not finalized until last night. This drove us to announce this news this morning–to our employees first.

As we have discussed, AOL is now in a phase of transition from playing defense to playing offense. As I said on the employee earnings call yesterday, AOL’s back in the game and we’re playing to win. We have a lot of work to do, but we’re going to do it. Please join me in welcoming David back to AOL and in thanking Bill for his dedication and leadership at AOL – TA

And here’s the release:

AOL NAMES DAVID EUN PRESIDENT OF AOL MEDIA AND STUDIOS

Eun Will Oversee All AOL Content, SEED.com and Studio Operations

New York, NY, February 4, 2010 – AOL Inc. (NYSE: AOL) today announced that David Eun will join the company as President of AOL Media and Studios, effective March 1. As AOL’s chief content executive, Eun will be responsible for the company’s more than 80 content sites, its new SEED.com publishing platform, as well as the newly acquired StudioNow video platform and AOL’s NYC and LA studios.

Eun will report to AOL Chairman and CEO Tim Armstrong and will be based in New York. He succeeds Bill Wilson, President, AOL Media, who will transition out of the role after nine years with AOL.

Until 2006, Eun helped to oversee AOL as Vice President, Operations for the Media & Communications Group at Time Warner Inc. In that role, he helped provide operational oversight and develop new businesses, particularly in digital distribution and broadband content and services, for the company’s AOL, Time Warner Cable and Time, Inc. divisions. Eun joins AOL from Google, where as Vice President, Strategic Partnerships, he was responsible for managing global content partnerships with Google and YouTube.

“David brings an impressive breadth of media experience to AOL at an exciting juncture for the company as we focus on scaling our content platforms, production and partnerships to offer quality, original content that will engage consumers and bring them–and their friends–back to our properties time and again. I’m delighted to welcome him back to AOL as we continue to pursue our strategy and mission in digital content and journalism,” Armstrong said.

“Bill Wilson has been a driving force for content at AOL and under his leadership the quantity and quality of our premium branded and niche offerings have expanded significantly. On behalf of AOL, I want to thank Bill for the energy and dedication he has brought to the role. Bill has been an outstanding leader at AOL,” Armstrong added.

“AOL has a unique opportunity to bring together its core strengths in the key areas of content and journalism, distribution, and advertising to engage its users, partners and advertisers in a way very few companies can. These three elements will be fundamental to success as the media and technology industries evolve and converge,” Eun said. ”And after nearly 15 years of seeing this convergence approach, I couldn’t be more excited to be returning to AOL to help Tim and his team capture that great promise.”

AOL is one of the largest producers of original content on the Web, with more than 80 official AOL and custom-built sites including more than 20 which rank in the top five in their U.S. comScore Media Metrix category. Approximately 80 percent of AOL’s content is originally produced by a growing team of staff and freelance journalists, including nine Pulitzer Prize Winners. AOL also produces more than 50 original video productions a month at state-of-the-art studios in New York and Los Angeles as well as through a network of freelance video producers.

SEED.com, AOL’s premium content management system, assigns, buys and distributes work for all of AOL’s properties.  StudioNow, which AOL acquired in January, allows the company to integrate a fully functional video creation platform into SEED and leverage a national network of creative professionals to develop and produce quality video in a way that is rapid, efficient and scalable.

Before joining Time Warner, Eun was a partner at Arts Alliance, a venture capital firm focusing on digital media, information technology and business services. He started his career in media at NBC, where he led some of NBC’s first cross-media initiatives involving television programming, the Internet, and retail consumer products. He is a former management consultant with Bain & Co., and attended Harvard Law School and Harvard College, where he graduated magna cum laude in government.

]]> http://allthingsd.com/20100204/another-googler-goes-to-aol-youtube-boss-dave-eun-replaces-bill-wilson-as-content-boss/feed/ 0 http://allthingsd.com/20091028/quincy-smiths-not-quite-exit-interview-hulus-a-great-service-thats-part-of-the-problem/ http://allthingsd.com/20091028/quincy-smiths-not-quite-exit-interview-hulus-a-great-service-thats-part-of-the-problem/#comments Wed, 28 Oct 2009 20:31:56 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=12519 Quincy Smith has finally announced that he’s sort of leaving CBS but will stay on as an adviser on its Web video strategy. So it seems like a good time for him to explain just what CBS’s Web video strategy is.

The short version is that unlike its broadcast peers, CBS (CBS) has been reluctant to make many of its shows available on the Web because it worries that doing so cuts into its core TV business.

So while GE’s (GE) NBC Universal and News Corp.’s (NWS) Fox put Hulu together, CBS stayed away. And when Disney (DIS) decided to join the joint venture earlier this year, CBS executives argued strenuously against the deal. Instead, CBS has been content to use the Web as a promotional tool for TV via outlets like Google’s (GOOG) YouTube.

The longer version is below, via the transcript of a brief chat I had with Smith this afternoon to discuss his plans and the network’s. This is stuff he’s talked about before–to reporters, in industry forums, and even via emails he wishes he hadn’t written–but I’m running it at length here.

Because 1) I think Smith does a good job of explaining the push-and-pull of Web viewership vs. Web economics that everyone in big media is grappling with, and 2) I want people to see just how difficult it is to keep up when Smith talks. He can get out a lot of words in a relatively short time.

I also had a quick chat with CBS CEO Les Moonves, who made many of the points Smith did, but with less verbiage: I’ll get you that transcript shortly, too.

Peter Kafka: Since you’re going to be advising CBS’s Web video strategy, why don’t you lay out, for the record, where things stand?

Quincy Smith:

We recognize that the Web is two things. It’s both a new medium…and there my example has always been, look at fantasy football: When you’re nice enough to watch the Jets just pound the snot out of the Raiders on Sunday, on a CBS channel…on fantasy football on CBSSports.com, you start on the Tuesday before and end the Wednesday after.

And what are you doing? You’re personalizing it, you’re becoming more of a fan of the game [Smith goes on to praise CBSSports.com's feature set]. All of those things are additive, so when Sunday comes in, you’re actually more of a fan, and you’ve even more convinced you’re going to watch that broadcast show.

Now, I realize that sports is reasonably bulletproof, and a good case study to begin with versus some of the other programming, but the fact is, the Web is a new medium. So what do I also mean? Tech reviews on CNET, Money Watch being watched on BNET. GameSpot videogame reviews.

Access to content that CBS didn’t already have, that are additive–both in their own right online, with the margins that the CNET business is used to, and where we’re getting just stronger and stronger from a margin perspective–and potential content that can also be applied to our [local TV stations owned by CBS], our affiliates, our broadcast news, as well as the radio. So that’s the side of our business that is $600 million revenue and $50 million-plus profit on the bottom line.

The other side of the Web, the side that is most thought of by many journalists, is the threat of an IP-deliverer of video. And how you turn that threat into an opportunity.

And so, from that perspective, as  you know, we didn’t go ahead and say, “Okay, we’re going to lock down and stream, with all of our other peers in broadcast, and come up with the same rules, and embed and right-click this and go away.” I’ve never had a beef with Hulu. Hulu’s always worked as a great service. That’s part of the problem.

As a network, we need to make sure that our content is being seen where the dollars matter. And right now that’s on air. Opportunities like TV Everywhere–we’re not putting all of our eggs in that basket, though we are big advocates of it–are ones where you can actually take and expand and extend the television market online, so it doesn’t matter what screen you watch “CSI” on; what matters is that you watched it, it counts and you saw the ads.

But until that happens, it’s crazy to just stream the shows for zero economics. When in fact you can make a lot more money doing things that are additive and complementary to the rest of the CBS line. That’s where CBS interactive comes in now.

Kafka: But TV viewers are showing an increasing interest in watching their programs on the Web, whether from legal services like the Web or illegal torrents and pirate sites. Don’t you need to reach them where they are?

Smith:

Now, if you really look at those numbers, what they’ll say is [online and offline video are] both growing, right? We’re having the best year ever as America’s largest broadcast network, and I think that 99.9 percent of that–this is the quote I’ve never been able to get in there–is that’s [because] of the great content that we have. There’s some infinitesimal basis point that’s relevant [to CBS ratings because] we are making sure that when people watch it, they’re more inclined to watch it on television. For now.

Once that solution moves, once those economics move–whether that’s more ads, [higher] CPMs, more ad buyers….You and I can say all day long, “We’re sold out on Web video. That’s going really well. It’s sold out.” Well, no kidding, it’s sold out. It’s a $700 million market. The television market is $120 billion. And of that, $700 million, half of those [ad buyers] are spending  90 percent of their time doing Google keywords, not buying online video.

The key is, how do you turn television buyers into video buyers? And that’s where a solution like TV Everywhere comes into play.

And by the way, looking at [Hulu CEO Jason] Kilar’s comments the other day, in Colorado [at an industry convention], he sees that too. He’s more sophisticated on this stuff than most anybody. From the perspective of, he understands that’s where the big dollars are. And so he probably went at it as, “I’m going to aggregate all the people first, so hopefully things like TV everywhere come to us.” From our perspective at CBS, we’ve got to go to them.

I don’t hate Hulu. Hulu’s world-class video viewing. What I don’t understand is, why license all that content to something that works that well, that seamlessly, yet–without the economic model around it?

]]> http://allthingsd.com/20091028/quincy-smiths-not-quite-exit-interview-hulus-a-great-service-thats-part-of-the-problem/feed/ 0 http://allthingsd.com/20091027/nbc-grabs-a-high-profile-blogger-to-boost-its-local-site-eater-cofounder-ben-leventhal/ http://allthingsd.com/20091027/nbc-grabs-a-high-profile-blogger-to-boost-its-local-site-eater-cofounder-ben-leventhal/#comments Tue, 27 Oct 2009 22:00:38 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=12470 If you follow the New York blog and/or blog/foodie scene, this one’s for you. The rest of you folks can probably move on.

Okay? Okay. Ben Leventhal, co-founder of the influential Eater blog, is headed to GE’s (GE) NBC Universal, where he’ll oversee “lifestyle content” for NBC’s growing local Web unit. More details here from Leventhal himself.

Eater is noteworthy because it’s a great read if you’re the kind of person who’s interested in an exit interview with former New York Times food critic Frank Bruni, conducted over a meal at Mario Batali’s Babbo. And also because it’s part of a larger network of blogs that Leventhal helped build up along with Lockhart Steele, one of the early architects of Nick Denton’s Gawker Media empire.

Steele says his sites, which encompass two other brands beyond Eater (real estate at Curbed, retail at Racked) and local sites in New York, Los Angeles and San Francisco, pull in a million uniques a month. Two years ago, he raised $1.5 million from a group of investors, including Denton, Spark Capital’s Mo Koyfman, real estate publisher Brad Inman and NetSuite (N) CEO Zach Nelson.

NBC, meanwhile, has been busily staffing up its network of local sites, which it overhauled earlier this year. The idea is to replace the lame extensions of its local stations’ lame newscasts with sites designed for people who actually use the Web–and to help the company break into the local Internet ad market that everyone wants a piece of but that no one has cracked yet.

]]> http://allthingsd.com/20091027/nbc-grabs-a-high-profile-blogger-to-boost-its-local-site-eater-cofounder-ben-leventhal/feed/ 0 http://allthingsd.com/20091021/google-steps-gingerly-into-music-with-one-box/ http://allthingsd.com/20091021/google-steps-gingerly-into-music-with-one-box/#comments Wed, 21 Oct 2009 14:50:31 +0000 Peter Kafka http://mediamemo.allthingsd.com/?p=12284 Google insists, over and over, that it has no intention of getting into the content business. So how is it finessing its way into the music business? Very carefully.

The search giant is working on a new service that will provide searchers with streaming music, which sounds a whole lot like a content play at first blush. But Google will only be offering limited bits of music, and it will be relying on other companies to actually provide the tunes.

Sources describe the service, which they refer to as “One Box,” as a refined set of answers for music queries. The idea: Punch in, say, “Madonna,” and you’ll be presented with one or more songs, which may be partial clips or full-length versions, then guided to other sites where you can purchase the music.

That is: If you’re looking for Google (GOOG) to launch a rival to Apple’s (AAPL) iTunes or to music streaming services like iMeem and MySpace Music, this isn’t it.

In fact, Google is actually partnering, in a way, with News Corp.’s (NWS) MySpace: iLike, the music start-up that MySpace purchased earlier this year, is one of the two services providing music to Google, industry sources tell me. The other is Lala.com, which has a novel streams-plus-cheap-songs concept. (This is presumably one of the “big announcements” Lala founder Bill Nyguen was referring to yesterday when I spoke to him).

UPDATE: Streaming music service imeem will also be providing songs for the new service, I’m told by people familiar with Google’s plans. It’s unclear to me whether the company will provide full streams in search results. No comment from Google, Lala, MySpace or Imeem. Or the labels, for that matter.

At this point I’m not clear how Google and the labels will determine how much of a song a searcher will be able to listen to. Last I time I checked, iLike didn’t have the ability to provide full song streams at all. And Lala’s licenses only allow the service to provide listeners with a full song once–after that, they have to purchase the track from the service.

One other note: “OneBox” is the name of an existing Google feature that offers up not just links, but actual answers to certain queries. (Think of weather, or stock results). So while it’s possible that Google intends to brand the service with that name, I wouldn’t be surprised if this was the term the company has been using internally and with the labels, and that the service will have a different name when it launches.

TechCrunch first reported about the service this morning.

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