As an intro to the above the author chastises Olson for a comment (taken out of context by him) quoted in Portfolio about having a hand in being "part of a process of making something that was a gentleman's hobby into a real business."Legendary Simon and Schuster CEO Dick Snyder was the figure who turned publishing companies into public corporations. And it is as corporate enterprises that the book barons lost their distinctiveness, acumen, and clout. Indeed, Peter Olson's lasting legacy was not making a business of Random House but making it a business that was too big, wasteful, and flabby to succeed.
As head of U.S. operations, he presided over the purchase of Random House from the Newhouse family and combined it with Bertelsmann's own Bantam, Doubleday, Dell operation. The resulting empire controlled 10 percent of the book market but could never outrun its own massive cost structure. It lumbered from hit to hit without making progress toward greater profits. By the time Olson left for Harvard Business School—pity the students he teaches—Random was envied by no one.
Aggarwal argues that sales of the Kindle grow almost 80 percent a year from ‘09 to ‘12, and that subscriptions will also jump as a result. (Amazon gets 70 percent of subscription revenue). Some 30 percent of Kindle owners subscribed to a service on the e-reader last year, a number that Aggarwal will grow to 75 percent in 2012 as more products are offered and the device becomes more mainstream.Who's he arguing with? Maybe this guy from Piper Jaffray who suggests 2009 revenues of $405mm going up to over $1bill by 2010. What a nice growth curve that is. eMarketer goes on to note that analyst Mark Mahaney from Citibank believes 10% of all books sold in the 1Q 2009 were Kindle books. Impressive, but nontheless unknowable unless you are looking at real Amazon sales numbers and who is doing that?
Importantly, people are increasingly willing to try e-book readers.Piper Jaffray found that 5% of consumers surveyed were interested in buying a digital book reader, and 9% were interested in buying one after a price drop. Nineteen percent of respondents had never seen a digital book reader but wanted to check one out.
California filed a federal antitrust complaint over the $4 billion merger of textbook publishers Houghton Mifflin and Harcourt Education Group, claiming "The merged entity now commands over 50 percent of aggregate primary and middle school textbook sales in the U.S." Combined with its competitors Pearson and McGraw, the three giants now "account for roughly 87 percent of the aggregate commerce in U.S. primary and middle school textbooks." California claims that December 2007 merger will reduce competition, raise prices and "the value of the materials and services likely will decline."Not the news that HHM would be in the mood for. (Post: Credit Rating)
But the supporting structure of music theatre somehow began to show itself like a manifesting ghost in early British rock. The Beatles larked about like Arthur Askey in a panto; Ray Davies exalted the glamour of the working-class world; The Who wrote songs about growing up that with a few word changes could have been squeezed into My Fair Lady. Music theatre, and its bastard brother music hall, had created and inhabited most of the venues that early British pop bands used to play in. You simply couldn't get away from the idea that it might come back one day, and of course it has. The musicals of the late 1950s - especially those by Lionel Bart - did try to anticipate what rock soon arrived to do. But Lionel himself told me once that he was just two or three years too old to understand what had been coming - it reminds me today of my anticipation of punk in the early 1970s. I knew something needed to happen, and I knew it would be subversive, but I couldn't see how it would take shape.
.....Austin Powers has done a lot of damage to the image of swinging London, parodying what had already been parodied by lazy American newsreels over the years. So in a sense my mission is to bring back some of the greyness, the bleakness of those years, and demonstrate to the cast that what happened simply had to happen, otherwise we would all have gone nuts. It wasn't an optional outing of boys playing on scooters; it was a vital rebellion.
Where the Mod movement looks shallow today is in its lack of political, social or ecological interest. But you have to understand that after the ban-the-bomb movement and the failure of anti-apartheid, and then the Cuban missile crisis, young people felt their input was pointless. Fashion, music and daily life was elevated to a form of aloof poetry and was very much a secret society.
....Have you ever been to see a rock musical based on a back-catalogue?
I live inside one. Musicals based on back-catalogues are becoming a saturated market. How can rock musicals avoid being watered-down exercises in asset-stripping?
....
What's next after the internet?
Compulsory electronic body implants linked to Gordon Brown's base station.
Scribd hopes its more open and flexible system will give it a leg up on Amazon, which has become the largest player in the burgeoning market for e-books. Amazon sets the retail price for books in its Kindle store and keeps the majority of the revenue on some titles, which has publishers worried that Amazon is amassing too much control over the nascent market. Amazon also allows those books to be read only on its Kindle devices and in Kindle software on the iPhone.
“One reason publishers are excited to work with us is that they worry that publishing channels are contracting as Amazon and Google are gaining control over the e-book space,” said Jared Friedman, chief technology officer and a founder of Scribd.
![Reblog this post [with Zemanta]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uKSWNVdMTzg1zXXkeElGLxZesb6tE6BNliM23pjwDTMl6b6MGOgmlIFU0xDhv0JdzFKpifO6P1wPJ78tj23QRJxxH_iKzBqJLuCfZgoMPS2oq4A7d-rZAC-N4Q67cgQDtk3DsipU9b1Ydys7R8NxTo=s0-d)
Necessity is the mother of invention, in the case of the iPhone, as elsewhere. There is not enough room on the device to support a mouse-device or a touchpad, other than the screen. So the screen had to be touchable. But there is no doubt that the Apple engineers have crafted an extraordinarily effective solution. As more books are piled into the iPhone's eco-system, I think we will see that there is a growing realisation that the digital text of a book or a magazine should be seen as the starting point for network based interaction with it. The text itself is the starting point, within it are located the points, the referrers, codes and symbols which engender user interaction. The digital version of a text, having many explicit or implicit resources for linkage and reference becomes a hypertext in its own right and one which engages the reader in more than mere reading. Much of this interaction will be initiated by finger gestures. For sure, reading is part of the point of a digital edition, but equally, it has to be said that, pointing is fully a part of the reading of a book on the iPhone.Evan Schnittman (Black Plastic Glasses) looks at disintermediation (Post):
While Michael’s efforts over time will lead to a cleaner and clearer understanding of who owns what, it won’t fix the inherent problem. The works in question will have competing rights holders for a variety of versions. Few will have clear electronic rights ownership, and few if none will have a single entity that controls all versions. This is the key to enabling the kind of content access that is needed for Generation On-Demand, and this is what is missing across the board. This problem is beyond enormous – it is basically one that cannot be fixed. There is no short term or mid term gain for any parties involved with IP contracts to fix this problem and you cannot fix something if the parties involved don’t see their goals as being aligned.
The result – we will become irrelevant as an industry (not just publishers, but publishing in every facet) over time and have no place in the content economy. But lets face it, this doomsday scenario has been sounded for years – who doesn’t think that book publishers will be obsolete in the future?
Michael Hyatt on how to build a "platform" as he points out most of the heavy lifting has been done for you. (Post):
By “platform” most publishers mean the ability to influence an audience that is large enough to make publishing a book less of a risk. Just a few years ago, this meant you had to have a television or radio show or write a regular magazine or newspaper column. This typically required a lot of money or important contacts.
But today, by starting a blog and making use of tools social networking tools like Twitter and Facebook, you can build a big platform with little more that the investment of your creativity and time. I’m not saying it is easy, but I am saying it is within reach. (By the way, I consider my blog to be my “homebase” and Twitter, Facebook, Plaxo, LinkedIn, etc., to be “outposts.”)
at Booksquare reacts to the Mokoto Rich (NYT) article about book digital piracy:
You’ll discover total frustration surrounding purchases. Anger over DRM. You want to hear screams and curses? Listen to the reader who can’t read the book she purchased because the Adobe Digital Editions authentication server is down. Spend some time with a reader who, due to extreme confusion, bought the wrong format of a book and has to deal with the bureaucracy of rectifying an error that shouldn’t have to happen. Piracy is and has been a fact of our lives for as long as we’ve created marketplaces. Books are as subject to thievery as any other product. Same thing, different realm. How you deal with piracy is changing, even as it stays the same (physical piracy still exists). It’s going to be an ongoing battle for the entertainment industries, but unlike your predecessors, book publishers have the chance to get so much right while the market is young.
And in reaction to the same Rich (NYT) article, Mike Shatzkin had a longer piece challenging the widely accepted negative perception of online and free content (IdealogBlog):
The other study was done by my colleague Brian O’Leary in conjunction with O’Reilly Media and Random House. The methodology was similar to what Hilton employed and was reported by O’Leary and Mac Slocum of O’Reilly at Tools of Change last February. Now they have published a Research Paper with O’Leary’s findings which is available from O’Reilly. What O’Leary found, using Random House data on ebook giveaways and O’Reilly Media data on books found on pirate sites, was that there was a correlation between free distribution and a sales lift for the books in question. But O’Leary cautions, “correlation is not causality”; the fact that sales rose after piracy and giveaway doesn’t mean sales rose because of piracy and giveaway. Both O’Leary and Hilton say more data is needed to come to any definitive conclusions.
Richard Curtis notes that 'quickies' are less prevalent in publishing than the average conference goer might assume. (E-Reads):
Though the New York Times's Andrew Adam Newman describes the process as "just a blink of a book editor’s bespectacled eye," it looks pretty glacial to a YouTube generation that knew everything it needed to know within hours of the astounding event. Sure, some of those ten months from splashdown to publication date were taken up by writing the book - something that quickie-watchers tend to overlook. Still, it plays up the immense disparity between pre- and post-digital quickies. “In the old days," says the book's editor Jonathan Galassi, "it would be ideally a year from delivery of the manuscript to publication, but now I’m hoping we can do books in four months.”
Alas, four months is about 119 days too long by 21st century standards, and so no matter what Farrar does to goose (awful pun intended) the Flight 1549 book along, a quickie will always be a slowie unless the publisher goes out with it as an original e-book. And some of us have real problems with traditional publishers releasing e-book originals. Farrar, Straus & Giroux being the quintessentially traditional publisher, it's hard to know what they're going to do if they have to publish a true quickie. But Galassi says help is on the way in the form of "measures that include editing copy electronically and streamlining design."
