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Rocket Bomber

Rocket Bomber

Links and Thoughts 17: 29 May 2014

filed under , 29 May 2014, 08:05 by

Tommy James – Draggin’ the Line

Good Morning.

##

Still recommending cookbooks this week; Today’s Book Recommendation is a two-fer, call it an author rec rather than a book rec:

Ratio: The Simple Codes Behind the Craft of Everyday Cooking – Michael Ruhlman (2009), paperback ISBN 9781416571728
Ruhlman’s Twenty: 20 Techniques, 100 Recipes, A Cook’s Manifesto – also by Michael Ruhlman (2011), hardcover ISBN 9780811876438

I’ll get my to-buy links sorted out eventually. In the meantime, you can still use most readers’ preferred option.

##

Media:
Why Vox (and other news orgs) could use a librarian : Nieman Journalism Lab

Media:
The Challenge of Measuring Multi-Platform Success for Print Magazines : PBS Mediashift

Books:
“Is it really necessary that retailers and publishers should view one another as war-like adversaries, or as predator and prey?”
Amazon’s Hachette Dispute Foreshadows What’s Next for Indie Authors : Smashwords

Tech:
[newsreel]“…and battery technology marches on!” [/newsreel]
A Battery Made of Iron Could Improve the Economics of Solar and Wind Power : MIT Technology Review
see also: Storing the Sun – and for more follow the links in both

Tech:
The cold logic behind Elon Musk’s $5 billion gigafactory gamble : Quartz

Couch Potatoes:
“Access to sports content of various sorts has always been a sticky subject for cord-cutters — those who eschew traditional cable for set-top boxes and video streaming services. For NFL fans, that issue has been addressed in part by the National Football League, which today revealed that both Roku and Amazon has become distribution partners for NFL Now.”
Roku, Kindle and Fire TV get NFL Now access : SlashGear

Amazon’s Robot Army:
I can’t make this stuff up : The Verge

Perspective:
“Walmart is the world’s largest company. With fiscal year 2014 revenue of $473 billion, its annual sales easily top those of Apple, Google and Amazon combined.”
Walmart CEO: Amazon Teaches World What’s Possible, But Physical Stores Here to Stay : Re|Code

Surveillance State:
Court upholds ‘First Amendment’ right to film police : Ars Technica

##

Diary entry for 29 May:
Since our last visit together, not one but two opinion pieces posted to the site:

“Amazon’s Generosity should not be taken for granted, or assumed to be limitless. I suppose the advice to authors should be: get in now, while the getting is good, and hope you can make your roll before the rules change and Amazon, in its great indifference, rolls over you.” : Amazon’s Generosity, 26 May

The 2nd piece is much longer (6400 words, 25min) though there is a shortcut option that lets you skip to the end and read just the conclusions (1700 words, 7min)

“I think it’s fine to use Amazon, but one shouldn’t be enamored by it. In the current publishing landscape, Amazon has every potential to become a de-facto book monopoly — a utility like AT&T, maybe, something you don’t notice and with flat rates that everyone gets accustomed to using — but being a comfortable and familiar monopoly doesn’t make it less of one. If you think of Kindle Direct Publishing as a book utility service (which is more of a poetic analogy than a direct one, but I find it fits) and recall the abuses of pre-breakup AT&T, or perhaps that other de-facto monopoly, your local cable company — maybe you’ll pause for just a moment before encouraging everyone to jump on board.” : A Once-in-a-Century Opportunity to Re-invent Publishing, and Books, 28 May

For me, that certainly feels like enough writing, so I’m not doing a dairy entry today. —M.

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A Once-in-a-Century Opportunity to Re-invent Publishing, and Books

filed under , 28 May 2014, 20:11 by

The working title for this article was, “These Days, Monopoly is Just a Board Game.”

I started to argue that Amazon wasn’t and isn’t a monopoly, but then I also managed to argue myself out of becoming an Amazon Cheerleader. Since I was looking into anti-trust statues and case law (spoiler: it’s dry) we’re going to wade into that half of the post first. But stick with me; I hope by the end I’ve also convinced you of the promise of that over-ambitious title up there.

I’ve set up a shortcut for those that want to skip Supreme Court Case precedents (no blame attached) and get to the second part: click this link

Also, I’m not a lawyer: just throwing that out there before we get started.

##

“Proponents of Amazon’s lower pricing strategies argue that Amazon is the underdog in the publishing monopoly, not the other way around. But the fact remains that Amazon is a company that singlehandedly controls 30% of the market share of the entire publishing industry. And unlike its competitors, it has a publishing arm, a distribution arm, and a retail arm.”
Amazon strongarms publisher, won’t allow pre-order of new J.K. Rowling book : 24 May 2014, The Daily Dot

“Amazon’s strategy against Hachette is that of a bullying combine the size of WalMart leaning on a much smaller supplier. And the smaller supplier in turn relies on really small suppliers like me. It’s anti-author, and in the long term it will deprive you of the books you want to read.
“Final note: some time in the 1980s the US Department of Justice’s anti-trust lawyers changed their focus from preventing monopolies from forming to preventing companies from colluding to preserve their margins (‘price fixing cartels’). As a result, Amazon very nearly gained a monopoly of ebook sales; they’re still around the 85-90% mark in the UK, and peaked at over 80% in the USA. (The irony of the DoJ-Apple iBook store settlement is that the DoJ went after the market incomer with the higher prices and 10% market share, rather than the near-monopolist who was using predatory pricing to drive their competition out of business.)”
Amazon: malignant monopoly, or just plain evil? : 26 May 2014, Charlie Stoss

“People have a choice on where to buy books. Amazon being the biggest bookseller on the planet doesn’t make them a monopoly or monopsony. If readers demand Hachette books, Amazon has not prevented them from being sold. There are thousands of other retailers who sell Hachette titles.
“I have five books published through Amazon’s Thomas & Mercer imprint, and more than a dozen self-pubbed through Createspace. Guess what? Indie bookstores and B&N don’t stock my paper books. And they are allowed to make that choice. And I don’t publicly whine about it.” …
“And there is a big difference between sales and profits. But no matter how you slice it, Hachette isn’t a helpless neophyte. They have power and capital and lawyers and have been around for almost 200 years. Amazon has the power advantage here, because they have customers Hachette wants access to. If Hachette wants to reach those customers, it will either accept Amazon’s terms or withdraw its catalog. And if Amazon can’t stand the idea of losing Hachette’s sales, it will back down.”
Fisking Charlie Stross: More on Hachette/Amazon : 27 May 2014, Joe Konrath

##

“The Rule of Reason is a doctrine developed by the United States Supreme Court in its interpretation of the Sherman Antitrust Act. The rule, stated and applied in the case of Standard Oil Co. of New Jersey v. United States, 221 U.S. 1 (1911), is that only combinations and contracts unreasonably restraining trade are subject to actions under the anti-trust laws. Possession of monopoly power is not in itself illegal.
“The Rule of Reason can be therefore considered a complement to per se illegality. Under the latter, the action, without consideration for circumstances, is illegal. Under the rule of reason, the circumstances in which the action was committed must be considered.” …
“On the same day, the Supreme Court also announced United States v. American Tobacco Co., 221 U.S. 106 (1911). That decision held that Section 2 of the Sherman Act, which bans monopolization, did not ban the mere possession of a monopoly but banned only the unreasonable acquisition and/or maintenance of monopoly.”
— Wikipedia: Rule of Reason – see also the entries for Standard Oil Company of New Jersey v. United States and United States antitrust law

I also like the finding (in other cases) that ‘geographical market division’ is straight up illegal, and I wonder how that could be applied to, say, cable companies in an argument. Do the cable companies collectively form a price fixing cartel more pernicious than, oh, I don’t know, Apple and 5/6ths of the Big Six publishers?

The phrase used is “illegal per se“ — in and of itself illegal, ‘inherently illegal’ —
“The United States Supreme Court has, in the past, determined activities such as price fixing, geographic market division, and group boycott to be illegal per se regardless of the reasonableness of such actions. Traditionally, illegal per se anti-trust acts describe horizontal market arrangements among competitors.The illegal per se category can trace its origins in the 1898 Supreme Court case Addyston Pipe & Steel Co. v. U.S., 175 U.S. 211 (1898).” – wikipedia

Cartels are illegal, a monopoly in-and-of-itself isn’t (in 1911).

Modern day Justice Department lawyers (in my opinion, burned in 1999-2001 when the Microsoft monopoly case amounted to a whole-lotta-nothing) have been skittish, loath to prosecute, and have also taken a very narrow view of antitrust laws: Monopoly power when exercised to deprive consumers of “the benefits of competition” is illegal — and the US Dept. of Justice sees the price charged to end-consumers as the only yardstick to measure that by. (The final price is only one benefit of competition and healthy markets, but whatever.)

It would also seem that players in an industry can collude all they want, too — so long as they do so in the open, in public view, and have excellent lobbyists. This is the reason the cable companies can all charge $90 a month, and raise rates every year, while offering neither better service nor more programming options. The mistake that Apple and the publishers made was attempting the old fashioned back-room deal: They should have hired more lobbyists, set up a think-tank or two, and then debated the ‘issue’ in back-and-forth newspaper editorials and NPR interviews; heck, the CEOs could legitimately spell out the whole deal, in the context of a cable news appearance. After six months of that, they could legitimately claim Agency Pricing was just ‘natural’ and the way ‘everyone’ was doing business.

Or at least, that seems to be the MO of the Cable Cartel — in my opinion.

##

Coke isn’t a monopoly, because Pepsi.

Visa isn’t a monopoly, because Mastercard.

McDonalds is big and profitable and ugly, but isn’t a monopoly.

Walmart is pernicious and certainly isn’t playing fair in several ways, but they do not have a monopoly.

We, as individual consumers, may not like some very successful firms because we dislike how they do business — or object to the business entirely — and so we don’t eat at McDonalds or shop at Walmart or drink either brand of fizzy diluted corn syrup.

De Beers is a straight-up monopoly — (not that this will ever be an issue, but) if I ever find myself needing a diamond ring, you can bet your ass I’m shopping vintage, or even going to a pawn shop, and if need be having the stone reset, rather than giving them any money.

Even when consumers exercise choice (free market, etc.) there are always times-and-places where some non-Monopoly with plenty of competition still ends up being the only choice. Cable TV and Broadband Internet are two lovely examples — as I can all but guarantee you have only one choice for each, and it’s the same company. For rural US customers, away from the coasts, Walmart may not just be the only discount department store, but the only grocery store for miles.

Walmart is a monopoly to the folks out in Podunk and West Bumble, though those folks are often glad to have them there. The options that existed before were both limited and more expensive. I still don’t think Walmart is ‘doing good’ but they’re serving markets, and if all we consider are outcomes and prices (and not awful practices) then Walmart deserves (some, slight) praise.

Amazon isn’t a monopoly… right?

Amazon has ‘competitors’ in the book market, and the small electronics market (that’s their real retail bread and butter), and online streaming video, and music downloads, and cloud computing services, and small goods (anything that fits in a box). Amazon has barely started in the grocery delivery market — a market which doesn’t even exist yet, honestly* — and in a number of other fields-of-competition, Amazon is in 2nd place, 3rd place, or worse. There is no way** to call Amazon a monopoly

* natural monopolies in markets where no active market previously existed have also been addressed by the courts; we’ll get to that eventually.

Amazon is much more than a bookstore these days anyway. No matter how small a percentage of the business, though, Amazon is always going to sell books — because books are the key to everything else:

“[B]ook markdowns are extremely visible. Sellers can tout their low prices compared to what’s on the back of book covers, the price publishers want to sell it for. And that can be a convenient psychological device — especially if you’re a big retailer with lots of other stuff to sell. ‘When the customer sees a book at 40, 50 percent off,’ Teicher says, ‘the presumption is that everything else that that retailer is selling is also equally inexpensive.’ And books bring in some pretty attractive consumers. ‘Book buyers are good customers,’ Teicher adds. ‘They tend to be slightly more affluent, they tend to be consumers who shop and therefore are always in the marketplace for other products.’”
Why books always seem to have a discounted price : 8 May 2014, Marketplace

Amazon can and should price books however they want. They do the same for MP3 players, hard drives, digital cameras, headphones, blenders, kitchen wares, blu-ray players, electric razors, board games, golf clubs, auto parts, and industrial shop equipment.

Amazon is just doing what every retailer does, though: sell at a discount. Nearly every manufacturer or supplier has a MSRP — notably the “sticker price” on the window of a new car; publishers aren’t the only ones who print the price on the ‘cover’ — and nearly every retailer ignores it.

Sometimes the items are discounted right out of the gate — especially on the fourth Friday in November. Those of us who shop for clothes know that the retail ticket price is only there to make the eventual clearance/close-out discount seem that much more attractive. If you’re shopping for a TV set, I’m willing to bet that the MSRP is also the in-store list price on 90% of the new models on display; there will be one “flyer” item on sale, to get you in the store, and of course last year’s models are discounted (to 15% margin instead of 50%).

There was one notable retailer exception: book stores. Book stores charged the price on the book. Books as a commodity are different, though — the exact same book will be available in at least two formats, with a price differential between ‘prestige’ hardcovers and the soft cover. Having two paperback versions (‘trade’ and ‘mass-market’) further clouds the picture, as do remaindered hardcover books. It is technically possible to walk into a bookstore and find a $6.98 hardcover, a $8.99 mass market paperback, a $18.00 trade paperback, and a $28 ‘new’ hardcover all of the same book, same words on the inside and everything, with only a matter of size and paper quality (or the detail of a remainders auction) to differentiate them.

So books were being discounted; the publisher just found a very convoluted way of doing it, and the booksellers were more than willing to play into it. Customers know the score, and they buy — or wait, and wait — depending on the current format and asking price, and their enthusiasm for the book.

Book stores used to be an exception in that they “always” charged the cover price — but only up until the chain booksellers began to routinely and without exception discount their bestsellers, not because of online prices (not at first) but rather to compete with the likes of Costco and Sam’s Club — which were selling the headline, bestselling authors’ books at discounts of 30% or more. That was in the early 90s, before Bezos had turned his bookstore into a behemoth. Amazon didn’t invent the discounted hardcover, they just had lower overhead, and so they could do it even better.

Amazon entered into the book market, where pricing and formats were already a muddled mess, and then further complicated things: by organizing a network of 3rd-party resellers of used books, by lowering their own margins on all books including the backlist, and (the clincher) by choosing to list all editions—new, used, remaindered, 3rd party sellers, paperback, hardcover, and collectible signed first editions—on a single product page. “Oh look, this book is only $2!” exclaimed thousands of customers simultaneously, even if they then went on to buy the book for $5.99 or $18.79 or $65.

Customers’ perception of [physical] book prices had already changed by the time the Kindle launched in Nov. of 2007 — and immediately sold out. Others had tried to sell ebooks online, and ebook readers pre-date the kindle by 10 years but Amazon had an edge: their customer base consisted of early adopters, avid readers, folks comfortable with or at least willing to try new technology if it meant they could save money, and folks affluent enough to drop $300+ on a gadget — no, those last two points aren’t a contradiction: I think the mindset is that books are a commodity good so of course you buy for the cheapest wherever you can find ‘em, but a gadget, especially the best-in-class gadget, is a one-of-a-kind (and potentially, a must-have) so price is no object. (‘Best in class’ and a price insensitive fan base is Apple’s whole business in a nutshell.)

The major selling point of the kindle was $9.99 brand new bestsellers; the initial price on the Kindle was $399. Enough people did the math and figured it was still cheap at that price. It shouldn’t be surprising — Amazon didn’t launch Kindle without knowing their market. When you have a database of the customers who buy at least two New-York-Times-Bestselling books a month, and can send them an email, you’ve already done that math.

[more on ‘$9.99’: NYTWashington PostAmazon itself]

Amazon launched into a market that didn’t really exist, and so quickly became the only major player worth talking about. Barnes and Noble (fatally?) took two years to enter that market, and Apple now famously only entered the market in 2010 as an ‘add-on’ and initial hook for their new iPad — and when they could stack the deck in their favor. So it should be no surprise that Amazon is the major player, with 60-75% of the ebook market (or more, and growing).

** And at what point could we say Amazon is a monopoly?

Of note is the 2nd Circuit Court decision United States v. Alcoa, 1945 —
“Judge Learned Hand held that he could consider only the percentage of the market in ‘virgin aluminum’ for which Alcoa accounted. Alcoa had argued that it was in the position of having to compete with scrap. Even if the scrap was aluminum that Alcoa had manufactured in the first instance, it no longer controlled its marketing. But Hand defined the relevant market narrowly in accord with the prosecution’s theory. Hand applied a rule concerning practices that are illegal per se. It did not matter how Alcoa became a monopoly, since its offense was simply to become one. In Hand’s words,
[blockquote]‘It was not inevitable that it should always anticipate increases in the demand for ingot and be prepared to supply them. Nothing compelled it to keep doubling and redoubling its capacity before others entered the field. It insists that it never excluded competitors; but we can think of no more effective exclusion than progressively to embrace each new opportunity as it opened, and to face every newcomer with new capacity already geared into a great organization, having the advantage of experience, trade connections and the elite of personnel.’[/blockquote]
“Hand acknowledged the possibility that a monopoly might just happen, without anyone’s having planned for it. If it did, then there would be no wrong, no liability, and no need to remedy the result. But that acknowledgement has generally been seen as an empty one in the context of the rest of the opinion, because of course rivals in a market routinely plan to outdo one another, at the least by increasing efficiency and appealing more effectively to actual and potential customers. If one competitor succeeds through such plans to the extent of 90% of the market, that planning can be described given Hand’s reasoning as the successful and illegal monopolization of the market.” – wikipedia

In the end, the 1945 decision was mooted by changing markets —very much like the Microsoft/Internet Explorer decision in 2000 quickly became irrelevant as other browsers ate away at IE’s market share — but Alcoa and Microsoft were both subject to court oversight after being found guilty, and oversight continued until the market caught up. Apple and the courts are still arguing over what “court oversight” might mean in the ebook-pricing case.

[The publishers already submitted to court restrictions when they settled the case before trial. They have to renegotiate their contracts, though the court allowed that these negotiations should be staggered. Hachette is the first of the five on the schedule; say, how is that going?]

Let’s take a second look at “the possibility that a monopoly might just happen, without anyone’s having planned for it. If it did, then there would be no wrong, no liability, and no need to remedy the result.”

See: the 1st Circuit Court decision, Fraser v. Major League Soccer, 2002 —
“The Court of Appeals upheld the jury’s finding that the plaintiffs did not prove that Major League Soccer illegally monopolized the market for player services, and failed to prove the product market and geographic market, because MLS competed with other soccer leagues in the U.S. for players, and MLS competed with soccer leagues in other countries.
“On the charge of a reduction in competition under the Clayton Act, the Court of Appeals held that ‘the creation of MLS did not reduce competition in an existing market’ because no active market for Division 1 soccer previously existed in the United States” – wikipedia

I don’t know what soccer player salaries have to do with author royalties, but I think we all can agree that MLS—which owns every individual team, not just the league—is a de-facto monopoly on US Soccer and that likely does affect 98% of player salaries, no matter what the court found at trial.

However: “the creation of MLS did not reduce competition in an existing market because no active market for Division 1 soccer previously existed”

The same could be said for ebooks in 2007.

On the other side of the coin, the Alcoa decision — where control of part of a market (ebooks for example; just throwing that out there) can be considered as separate from the overall market (all books) — might just be a precedent if someone chose to apply it. Of course, any and all actions taken by Amazon in pursuit of book market share is just “good business”. For Amazon to act differently would be stupid. Bezos is not stupid.

In fact, I’m sure that Bezos knows the distribution centers he’s built in the last decade, combined with the ease of one-click shopping, an engaged and enthusiastic customer base (of readers!), integrated hardware/software that includes dedicated e-readers, andoid-ish tablets, and apps on everything, along with razor-thin margins and customer retention programs like Amazon Prime, all represent very high barriers to entry. The ability to drop a few or a hundred million to buy out a nascent competitor certainly doesn’t hurt. It seems obvious to buy an online bookseller like Abe Books — but more vitally, Amazon is being proactive in acquiring any developing network of readers, including both Shelfari and Goodreads. The business is being won not just in market share but in mind share, and having a lock on enthusiastic readers is apparently worth at least $150 Million (for Goodreads, the purchase price of Shelfari wasn’t disclosed).

“It insists that it never excluded competitors; but we can think of no more effective exclusion than progressively to embrace each new opportunity as it opened, and to face every newcomer with new capacity already geared into a great organization, having the advantage of experience, trade connections and the elite of personnel”

##

Following the precedents, the Apple ebook case makes sense in its own way — price fixing and cartels are definitely illegal. Monopolies in and of themselves are not.

Any theoretical Amazon case would also be a huge mess because you’d have to argue about who Amazon’s customers are: sure, on the surface, Amazon’s only book customer is the end reader — but if Amazon [eventually] controls 90% of the ebook market, wouldn’t an author’s only way to reach those readers be through Amazon? Isn’t the author—attempting to use Amazon’s services to reach Amazon’s reader base—a customer too? Amazon buys books from publishers — but if you’re a [dead tree] genre fiction publisher and Amazon accounts for 50% or more of your overall sales, online or off, who has the power in that relationship? What are your options outside of Amazon?

By placing itself across the whole book industry — and playing different roles in retail, distribution, and publishing but not controlling any of the three — Amazon in a way insulates itself from accusations of monopoly while also becoming a much bigger and more formidable adversary than it might have been otherwise.

In November of 1998, Barnes and Noble (with about 15% of the book retail business) proposed buying Ingram Book Group, which at that point had 11 distribution centers and shipped books, audio books, and magazines to stores nationwide — including to Amazon. While each was the number one competitor in their field, both Barnes & Noble and Ingram still faced strong second-placed competitors, and both parties promised that the merger wouldn’t affect Ingram’s existing distribution deals or customer relationships. The buy-out was dropped in 1999, about six months later, over fears the FTC would axe the deal; the respective companies felt dragging the process out any further would only damage their image, and potentially, their business [and certainly: B&N’s stock price].

[Additional reading on that: AP, NYT, CNet]

Would the union of book retail with book distribution have destroyed competition? — Apparently it didn’t; after 1999 both B&N and Amazon brought distribution in-house (spending hundreds of millions in the process), handling the majority themselves and buying direct from publishers instead of middlemen. But in 1999 the “major” player in book retail (with 15% of the market) was effectively blocked from consolidating its position by anti-trust fears.

And Amazon has 30% of the book market, but isn’t considered an anti-trust candidate by anyone except those suffering from ‘Amazon Derangement Syndrome’.

##

[Enough droning on about Amazon.]

Could the publishers be making major changes to the way they do business? Aw Hells Yes. Amazon is devouring the business like a pack of cheetahs because the old school, New-York based publishing business was and is very inefficient, a half-broken system that was in no way improved by the consolidation of imprints, and the consumption of New York publishers by Big Media conglomerates.

If I were to launch a publisher today, it would not be in Manhattan — well, Manhattan, Kansas, maybe, but not New York. The ghosts of Max Perkins, Book Row, and the Algonquin Round Table seemingly haunt the business —or perhaps, it is the publishers who cling and won’t let go, not the ghosts who are refusing to leave. We’re constantly lamenting either the demise of literacy, of literature, or just of good taste. (that link is a 1959 article in Harper’s on the decline of book reviewing)

So lets rethink this a bit and reframe our mental image of publishing:

By the 1930s, rotary presses, offset printing, and hot metal typesetting had industrialized the manufacture of books, to the point where a paperback could be sold for just 25¢ (in 1939, inflation adjusted $4.15) — while simultaneously, the market for fiction in magazines (high-brow and low) fostered at least three generations of writers, the end result of which we see in Pulitzer Prizes, Noble Laureates, and (even better) the glorious era of Pulp. The modern day publishers were all born in this era (as previously, there was no way to profitably make the books—copies of books, in the manufacturing sense) and in a way, they are all still stuck in it.

Now, the word processor, digital publishing, and social media have again revolutionized the manufacture of books — In publishing, It’s 1879 All Over Again, and every blogger is a newspaper onto themselves, every online author their own very small magazine or press, and every existing, accepted business model should be assumed to be wrong until proven otherwise.

But instead of seeing the revolution take off (like it has in other areas of tech), enterprising small publishers and aspiring authors still have to contend with the weight of the Book Establishment: the media conglomerates, their gatekeepers, and a self-appointed literary police force that values laurels and prizes over fun and pulp. The Established Book People control every approach to the market: breaking free from the slush pile and into publication to begin with; access to shelves in bookstores, or even better, front-of-store placement; getting your book reviewed by nationally-distributed newspapers and magazines, or even better …Oprah.

How does one crack into this market? Do you have to, anymore, to ‘make’ it as an author? If you go online, is Amazon your only way, or just the only way to reach Amazon’s (numerous and book-hungry) customers? To date, only Pottermore has begun to explore (and exploit) what is possible — though of course we could argue that Rowling is in a unique position to do so. In time (5 years? 10?) others will definitely follow. The next G.R.R.M. will not be a greybeard with an existing publishing contract, but will instead use Facebook, Twitter, Tumblr, and [The Next Great Social Media Thing that Hasn’t Been Invented Yet] to pull readers into a totally independent website, to read appendices and argue minutia on forums and to buy, buy, buy digital copies of the books.

Rowling and G.R.R.M. had a lot of help though: movies and cable TV gave a boost to properties already pretty famous and selling themselves out in the bookstores. 99.999999% of new authors won’t be able to take the same path (or sit on Oprah’s couch, let alone Conan’s) but the idea of doing it all yourself shouldn’t be discarded just because we can’t all win the lottery. Maybe the next G.R.R.M. will get his start writing fan fiction — maybe she has already done so, and just needs a push to go from posting on others’ web sites to building and hosting her own. Sure, reader-outreach and fan interaction might ‘live’ elsewhere (twitter&tumblr, perhaps) but you’ll need more than a few @handles and an Amazon landing page if you want to control your own destiny.

For authors that don’t do it themselves? To go back six paragraphs, “If I were to launch a publisher today” it would be a website, not just an imprint — and the small editorial staff would include writers to maintain the blog, programmers to build the platform, and some social media savvists (yes I just made up that word and invented the job) to find and capture fans — and the staff would be given a mission to curate a small niche of publishing — or a large niche, or a whole genre, but whatever: our target is a target, and we’re aiming for both the authors and the readers. IF I could buy the Analog or Asimov brand names: we’d be off and running, yesterday.

So long as I’m wishing: Give me the modern-day John W. Campbell or Lester Del Rey and let’s do this already. Pitch it as a tech startup to con the VCs acquire some startup capital to pay the bills the first two years and *do it*.

If Vox, Whalerock, Ziff Davis, Conde Nast, or First Look Media want to get in touch with me about starting this new hybrid website-magazine-imprint, I can be on a plane and at your office on Monday. Have the contract ready for me to sign; no takebacks.

##

Publishing is ripe for disruption. Amazon found a couple of cracks and are working the wedges to split off their chunk of the market. Amazon is very successful at what they do; they are the first of a new kind of book company — currently more retailer than publisher, but doing just fine with their house imprints and also, more than willing to share parts of the infrastructure with others (authors; but authors direct and not their publishers) (at least: so far).

Amazon is monopoly-ish but the Justice Department has given them a pass (and will continue to) so long as Amazon isn’t “abusing” their position to raise consumer prices. Anything else that Amazon does, including making publishers squeal, making B&N obsolete, and stomping (or buying) any upstart that even looks like it might be eyeing Amazon’s business: that’s all fine.

HOWEVER,

And this is aimed at the Amazon Cheerleader Squad,

Amazon’s dominant market position isn’t a good thing, in my opinion. It’d be great (and I’d certainly be less apprehensive) if there were a strong, and growing, and decently-popular alternative to Kindle Direct Publishing to threaten Amazon and keep them honest. A Pepsi to their Coke, or a Discover Card (or even a Square) to their Visa/Mastercard hegemony.

I think it’s fine to use Amazon, but one shouldn’t be enamored by it. In the current publishing landscape, Amazon has every potential to become a de-facto book monopoly — a utility like AT&T, maybe, something you don’t notice and with flat rates that everyone gets accustomed to using — but being a comfortable and familiar monopoly doesn’t make it less of one. If you think of Kindle Direct Publishing as a book utility service (which is more of a poetic analogy than a direct one, but I find it fits) and recall the abuses of pre-breakup AT&T, or perhaps that other de-facto monopoly, your local cable company — maybe you’ll pause for just a moment before encouraging everyone to jump on board.

Additionally, there is nothing Amazon does for you that you, as an author, can’t do for yourself. Sure, one can buy into Amazon’s Kindle Ecosystem and that’s great — it’s easy and seductive.

But if you argue that Publishers don’t deserve 95%, or 85%, or 75% for formatting, editing, production, and distribution when one can easily contract that out (for an upfront, one-time fee – not ongoing chunks of the revenue) and the parts that can’t be contracted out have been made obsolete by ebooks…

…then maybe you can also see my argument that Amazon doesn’t deserve even 30% if you’re the one marketing the book, finding fans on facebook, slowly building up your backlist and ‘brand’ — and you only direct them to Amazon because you haven’t set up your own website yet. (for an author, yes, 70% is way better than 5-17% — even the 35% Amazon offers for books outside the KDP Select program is better — but 100% and 100% control should be the goal, right? …right? )

Genre authors who are at the forefront of the Kindle Revolution might want to start reading web comics, and learning about how comickers are monetizing. Some of them even print and sell hardcover books, direct, at a profit, …without Amazon — and that’s after they give away the comics for free. There is a lot to think about here.

##

Like I said, it’s 1879 all over again and we’ve been given a once-in-a-century opportunity to re-invent publishing and books. A whole world of options is out there and a possibly brilliant future awaits.

But we can also learn from the past: let me tell you, no one in 1914 was arguing that Sears & Roebuck was the future of publishing just because they had revolutionized retail with direct-to-customer shipping, were leveraging the possibilities of the network (rail network) to ship faster and cheaper all the time, used massive volume to keep margins and prices low, and their ability to reach and inform millions of customers (through their catalog) was unprecedented, nation-wide, and ubiquitous.

Have it shipped direct and save 70 percent off new fiction!

Publishing was re-invented by the packagers and the pulps, not the establishment players. The revolution was led by the people serializing fiction to sell magazines, and the 25¢ paperbacks sold outside of bookstores — dozens, and then hundreds, and then thousands of independent players, of which only a handful were successful (those became today’s imprints, handed around like poker chips by media conglomerates) but all of which were making and selling books. The first editors and publishers learned on the job, and often were the authors themselves; we are being given the same opportunity.



Amazon's Generosity

filed under , 26 May 2014, 11:39 by

Amazon:


Counterpoint:
“Amazon offered a choice. Not just for writers, but for consumers who wanted larger selections and didn’t want to pay luxury prices for books. (Publishers didn’t just control who got published, they also controlled the prices of their titles. What other industry prints a price on its product?)”
Turow & Patterson: A Plateful of Fail with Extra Helpings of Stupid

see also: Five+ years of me angsting on Amazon

##

Amazon is not a Great Evil, hellbent on destroying publishing.

Amazon is a business, and is using their market position to be even-more business like.

Is that evil? Yes, actually, I think abusing your market position to extract profits without providing additional value is kind of evil, but apparently I’m alone on that — and just because Amazon isn’t attempting to extract the extra money out of their customers (yet), I’m told my opinion doesn’t matter, or worse, that I suffer from Amazon Derangement Syndrome for pointing out the obvious.

Are publishers any better?

The major media conglomerates that currently own the publishers aren’t. A publisher who can’t add value (production and marketing support) to a book certainly isn’t entitled to take a large percentage of its profits. But is the model bad? I think it was working up until the 80s, and then a lot of things happened before Amazon got started [consolidation, shifts in book retail — including the rise of first the mall chains and then the big box stores, the ‘elevation’ of genre fiction, and the multi-media tie-in] and Amazon stepped in to abuse the exploits readily available because the book business was (from a “business” standpoint) “broken”.

If Amazon is “good” and the publishers are “bad” — then what’s the third way?

If it is all just business, then any well-run business should be able to provide services to both readers and writers in ways that do not require the publisher’s scale and clout to get shelved in bookstores, and don’t rely on the size of Amazon’s customer base and on Amazon’s generosity. If it’s ‘stupid’ to ignore Amazon because “that’s where the customers are” then you’ve merely traded one pair of gatekeepers (the acquiring editor, the chain book-buyer in New York) for a different set of gates, and all the gates are owned by Amazon.

Sure, for an ebook Amazon will pay an author up to 70%, assuming the author adopts Amazon’s preferred pricing structure, but why does Amazon charge 30% at all? If it’s only about hosting the data, it looks like 1 GB of storage and 5 GB of data transfers (customer downloads, in this case) would only cost me 17¢ a month using Amazon’s own Web Services — that’s 17¢ for the data (…per month, and I’d only be charged for what I use), so I guess the other $.72 (on a $2.99 kindle book) is sales commission? For listing the book on Amazon’s website?

Except… the web site is automated, too. The author fills out the book metadata, decides which keywords and categories to use; the customers submit the reviews. Amazon is just providing the server space and the download (for 17¢ a month). Customers find the book using search, or by browsing — which means relying on Amazon’s algorithms and hoping that there isn’t some dumb reason Amazon would want to hide your book from the search results, or to keep it off of top 10 or top 100 lists.

Amazon makes money on Kindle books in aggregate so it doesn’t have to support any one author, or any one category or genre of books, or even provide any support at all so long as the website is up and the servers are running.

Amazon deserves credit for setting up the system (and for leaving the lights on for the rest of us, I guess) but it doesn’t do anything; the sales commission it earns is for providing access to its customer base, a de-facto social network of millions of readers who have self-selected — for reasons of cost and/or convenience — and are the fraction of readers that are both more technically savvy and most willing to try digital options (because they did, when they first chose to try Amazon).

Amazon may “only be 30% of the market” but represents at least 75% of the ebook market, because that’s who their customers are. Amazon only takes a 30% cut — for books under $10 (a pricing scheme they enforce, and they take 65% if you choose to deviate from their guidelines) — for a service that costs them pennies on a closed platform they control. Amazon only provides the listing, the author is then responsible for the marketing, and for generating enthusiasm in their readers. Some authors are very successful on Amazon’s platform and that’s fantastic — but no one has asked them the question: now that they have a reader base, do they need Amazon?

Amazon processes the payments, so that’s nice (and the hosting and distribution of files) and of course there are interactions and synergies that come from being listed next to other authors and books — benefits that outweigh the trivial fact that other authors are technically the competition. But I can just as easily push books from my website — in fact there are Wordpress plugins that can turn any blog into a store. Sure, it’s a lot of work — but the arguments against publishers (“I can hire a proofreader, and an editor, and a cover artist, and someone to format the ebook for me… hell, I’m doing all my own marketing anyway… why do I need a publisher?”) can also be applied to Amazon (…now you need to hire a web programmer, and a web designer, but the rates are going to be similar to a good book editor, and once a solution and/or model is in place many authors will be able to copy it, or parts of it).

I repeat myself for emphasis: If Amazon is “good” and the publishers are “bad” — then what’s the third way?

If it is all just business, then any well-run business should be able to provide services to both readers and writers in ways that do not require the publisher’s scale and clout to get shelved in bookstores, and don’t rely on the size of Amazon’s customer base and on Amazon’s “generosity”.

Monopoly, monopsony, whatever… Amazon is not the final solution, but gets a lot of the credit (and a lot of goodwill) for having “solved” the book “problem”.

All I see is a single player that has gobbled up too much of both book publishing and book retail. Amazon’s Generosity should not be taken for granted, or assumed to be limitless. I suppose the advice to authors should be: get in now, while the getting is good, and hope you can make your roll before the rules change and Amazon, in its great indifference, rolls over you.



Links and Thoughts 16: 26 May 2014

filed under , 26 May 2014, 10:34 by

Graham Central Station – The Jam

Good Morning.

##

What kind of cookbook would you get if you wrote it like a computer how-to manual? To rephrase the question: what kind of cookbook would you get from tech publisher O’Reilly?

Today’s Book Recommendation is Cooking for Geeks: Real Science, Great Hacks, and Good Food by Jeff Potter. from the publisher:
“More than just a cookbook, Cooking for Geeks applies your curiosity to discovery, inspiration, and invention in the kitchen. Why is medium-rare steak so popular? Why do we bake some things at 350 F/175 C and others at 375 F/190 C? And how quickly does a pizza cook if we overclock an oven to 1,000 F/540 C? …
“This book is an excellent and intriguing resource for anyone who wants to experiment with cooking, even if you don’t consider yourself a geek. …
“Gain firsthand insights from interviews with researchers, food scientists, knife experts, chefs, writers, and more, including author Harold McGee, TV personality Adam Savage, chemist Hervé This, and xkcd”

…Practically sells itself.

##

Tech: Disrupting a 6.2 billion dollar industry -
Will Driverless Cars Spell Doom for Law Enforcement Budgets? : Planetizen

Policy:
Net neutrality is as critical for art as it is for commerce : Daily Kos

Amazon:
Amazon’s Tactics Confirm Its Critics Worst Suspicions : New York Times’ Bits Blog

Counterpoint:
“Amazon offered a choice. Not just for writers, but for consumers who wanted larger selections and didn’t want to pay luxury prices for books. (Publishers didn’t just control who got published, they also controlled the prices of their titles. What other industry prints a price on its product?)”
Turow & Patterson: A Plateful of Fail with Extra Helpings of Stupid

Diary entry for 26 May:
ended up being it’s own column. —M.

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The Wrecking Crew

filed under , 25 May 2014, 09:05 by

In the 1960s, session musicians in Nashville, Detroit, and Memphis (and other cities with active recording studios) could always find regular work — and if a city became known for a particular sound, those musicians could get a lot of work — but usually, only from one or two studios. (I’ve been cataloging quite a few of these groups.)

New York is obviously different; at one time or another everyone recorded in New York.

Through the second half of the 20th Century, that was even more true in L.A.

[wikipedia]

The Wrecking Crew’s members were musically versatile but typically had formal backgrounds in jazz or classical music. The talents of this group of ‘first call’ players were used on almost every style of recording including television theme songs, film scores, advertising jingles and almost every genre of American popular music, from The Monkees to Bing Crosby. Notable artists employing the Wrecking Crew’s talents included Nancy Sinatra, Bobby Vee, The Partridge Family, The Mamas & the Papas, The Carpenters, The 5th Dimension, John Denver, The Beach Boys, Simon & Garfunkel, and Nat King Cole. They were among the inaugural ‘Sidemen’ inductees to the Musicians Hall of Fame and Museum in 2000 (specifically, drummer Hal Blaine).

The figures most often associated with the Wrecking Crew are: producer Phil Spector, who used the Crew to create his trademark “Wall of Sound”; and Beach Boys member and songwriter Brian Wilson, who used the Crew’s talents on many of his mid-1960s productions including the songs “Good Vibrations”, “California Girls”, Pet Sounds, and the original recordings for Smile. Members of the Wrecking Crew played on the first Byrds single recording, “Mr. Tambourine Man”, because Columbia Records did not trust the skills of Byrd musicians except for Roger McGuinn. Spector used the Wrecking Crew on Leonard Cohen’s fifth album, Death of a Ladies’ Man.

According to Blaine, the name ‘The Wrecking Crew’ was derived from the impression that he and the younger studio musicians made on the business’s older generation, who felt that they were going to wreck the music industry. Prior to that, in the late 1950s the small group headed by Ray Pohlman was often referred to as ‘The First Call Gang,’ since they were the musicians many record producers would call first. With home base being Hollywood’s ‘General Service Studios’, this early group consisted of talented musicians such as Earl Palmer, Mel Pollen, Bill Aken, Barney Kessel, and Al Casey. Many historians consider this small group to be the actual origin of ‘The Wrecking Crew’, or ‘The Clique’ as they were sometimes called.


[/wikipedia]

The impact of ‘the wrecking crew’ is more pervasive than any of the other groups I’ve highlighted so far, but also much harder to pin down. While we all know The Funk Brothers from Motown and the Swampers from Muscle Shoals, there wasn’t a single studio or record label in L.A. — there was no “L.A. Sound”

…or at least, the “L.A. sound” is hard to pin down because it conformed so utterly to the mainstream Pop sound — it formed the Pop sound; it was the Pop sound

There was Elvis (starting as early as ’56, but only gaining steam after he left the army in ’60) — and then there was Surf Rock, which was native to Southern California and was “the thing” up until February 1964, and it could be argued that America’s Pop response to the British Invasion, post ’64, was still California: The Grateful Dead, the Mamas and the Papas, The Doors — but that would be a gross oversimplification, even if (from a critical standpoint) Brian Wilson’s late efforts with the Beach Boys happened to be the only serious response, and contender, to the Lennon/McCartney canon.

The plastic exuberance of the Elvis musicals was filtered through 60s counter-culture, then forged in Monterey in 1967, tempered in Altamont in 1969, and supported throughout the 60s, 70s, and 80s by a relocated music industry. The ‘brand names’ in music — Capitol, A&M, Warner Brothers, Universal, Columbia — were all in Los Angeles. The eventual fall-out was 80s Hair Metal which was almost exclusively an L.A. export.

So… the L.A. scene is much harder to pin down and ‘stereotype’ into a single genre or style. So let’s talk about musicians:

Carol Kaye: “Carol Kaye (born March 24, 1935) is an American musician, best known as one of the most prolific and widely heard bass guitarists in history, playing on an estimated 10,000 recording sessions in a 55-year career.
“As a session musician, Kaye was the bassist on many Phil Spector and Brian Wilson productions in the 1960s and 1970s. She played guitar on Ritchie Valens’ ‘La Bamba’ and is credited with the bass tracks on several Simon & Garfunkel hits and many film scores by Quincy Jones and Lalo Schifrin. One of the most popular albums Carol contributed to was the Beach Boys’ Pet Sounds.”

Glen Campbell: “During this period he played on recordings by Bobby Darin, Ricky Nelson, Dean Martin, Nat King Cole, The Monkees, Nancy Sinatra, Merle Haggard, Jan and Dean, Elvis Presley, Frank Sinatra and Phil Spector.
“From December 1964 to early March 1965, Campbell was a touring member of the Beach Boys, filling in for Brian Wilson. He also played guitar on the group’s Pet Sounds album, among other recordings. On tour, he played bass guitar and sang falsetto harmonies.”

Tommy Tedesco: “Tedesco’s credits include the iconic brand-burning accompaniment theme from television’s Bonanza, The Twilight Zone, Vic Mizzy’s iconic theme from Green Acres, M*A*S*H, Batman, and Elvis Presley’s ’68 Comeback Special. He was shown on-camera for a number of game and comedy shows, and played ex-con guitarist Tommy Marinucci, a member of Happy Kyne’s Mirth-Makers, in the talk-show spoof Fernwood 2 Night.”

René Hall: “In the mid-1950s, Hall moved to Los Angeles, California, and began doing session work with famed saxophone player, Plas Johnson, and drummer, Earl Palmer. The trio recorded for many of the emerging rock and roll and R&B artists on such labels as Aladdin, Rendezvous, and Specialty Records. In 1958, he recorded the electric bass track using a Danelectro 6-string bass guitar on the Ritchie Valens smash hit, La Bamba, with Buddy Clarke on the upright acoustic bass.
“Throughout his career, Hall was the featured guitarist on such tracks as Number 000 (Otis Blackwell), That’s It (Babette Bain), Cincinnati Fireball (Johnny Burnette), Chattanooga Choo Choo (Ernie Fields), In The Mood (Ernie Fields), Hippy Hippy Shake (Chan Romero), and Dizzy Miss Lizzy (Larry Williams). He also released numerous recordings as both René Hall and the René Hall Orchestra.
“Hall arranged some of Sam Cooke’s best-known recordings including the 1964 song, A Change Is Gonna Come, in which Hall devised a dramatic arrangement with a symphonic overture for strings, kettledrum, and French horn. He also prepared arrangements for many of Motown’s most successful artists including The Impressions and Marvin Gaye. Rene also was an advocate for up and coming new groups. He came into Bill Withers Tiki Studios in San Jose and worked out the arrangements for two of San Francisco’s own Cordial Band. He arranged Wave and A Special Love written by Raymond Coats and Danny Dinio. He also plays lead guitar on Marvin Gaye’s Let’s Get It On”

Leon Russell: “As a first call studio musician in Los Angeles, Russell played on many of the most popular songs of the 1960s, including some by The Byrds, Gary Lewis and the Playboys, Bobby ‘Boris’ Pickett, and Herb Alpert. He can be seen in 1964’s T.A.M.I. Show, playing piano with ‘The Wrecking Crew’ (an informal name for the top L.A. session musicians of the 1960s), sporting short, dark, slicked-back hair, in contrast to his later look. Soon after, he was hired as Snuff Garrett’s assistant/creative developer, playing on numerous #1 singles, including ‘This Diamond Ring’ by Gary Lewis and the Playboys. He wrote or co-wrote two hit songs for Gary Lewis and Playboys: ‘Everybody Loves a Clown’ (which hit the Billboard Top 40 on October 9, 1965, remaining on the chart for eight weeks and rising to number 4) and ‘She’s Just My Style’ (which hit Billboard′s Top 40 on December 18, 1965, and rose to number 3). He played xylophone and bells on the 1966 single ‘The Joker Went Wild’, sung by Brian Hyland and penned by Bobby Russell (no relation to Leon). He also worked sessions with Dorsey Burnette and Glen Campbell on Campbell’s 1967 album Gentle on My Mind, where he was credited as ‘Russell Bridges’ on piano, and arranged and conducted the 1966 easy listening album Rhapsodies for Young Lovers by the Midnight String Quartet.
“Russell’s first commercial success as a songwriter came when Joe Cocker recorded the song ‘Delta Lady’ for his 1969 album, Joe Cocker. The album, produced and arranged by Russell, reached #11 on the Billboard 200. Russell went on to organize and perform in the 1970 Mad Dogs and Englishmen tour in support of the album. ‘Superstar’, co-written by Russell, Delaney Bramlett and Bonnie Bramlett, was sung by Rita Coolidge on that tour and later proved a success for The Carpenters, Luther Vandross, Sonic Youth and other performers.”

How deep into one of these music posts can I go without linking to any music?

“The Wrecking Crew: The Inside Story of Rock and Roll’s Best-Kept Secret” is a book and also a 2008 documentary [which then had to go to Kickstarter in 2013, because rights clearances are expensive.] see also: http://wreckingcrew.tv/

If Only for their contributions to the Beach Boys records, the Wrecking Crew needs recognition.



Links and Thoughts 15: 25 May 2014

filed under , 25 May 2014, 08:05 by

RIP SLYME – Galaxy

Good Morning.

##

I think, just for a change of pace, I’ll do a set of themed book recommendations (all week) that have nothing to do with the rest of the links — those rec’s are good too (and feel like a good use for the feature) —but let’s get back to basics. This week the topic is cookbooks (but probably not what you’re thinking).

Today’s Book Recommendation is On Food and Cooking: The Science and Lore of the Kitchen by Harold McGee.

OK, First: this is a food book and not an index-of-recipes (what we usually mean when we say ‘cookbook’) and I’ve owned my copy since the revised edition came out in 2004. Second, one would not be far off to describe this not as a cookbook but instead, as a comprehensive reference for ingredients — the stuff we cook — a gastronomic education (if not a revelation) for the common cook.

“[F]or its twentieth anniversary, Harold McGee has prepared a new, fully revised and updated edition of On Food and Cooking. He has rewritten the text almost completely, expanded it by two-thirds, and commissioned more than 100 new illustrations. As compulsively readable and engaging as ever, the new On Food and Cooking provides countless eye-opening insights into food, its preparation, and its enjoyment.”

If you are more of an engineer, and not an academic, McGee’s most recent offering Keys to Good Cooking is also recommended. Or both. Both is good.

##

Media [consumption]:
“The majority of consumers who watch pirated films — some 94 percent — say they also buy legitimate copies. Those who only occasionally watch unauthorized versions of movies, or stream them because it’s convenient, can be most readily coaxed to pay, the study found.
“Occasional and convenience streamers account for about one-third of unauthorized viewing. These consumers say they prefer to watch a legitimate copy of a film, but they’ll watch the black-market version when the opportunity presents itself or when their subscription services don’t have the title they’re seeking.”
Movie Pirates Can Be Converted, Study Finds : Re|Code

Politics:
So, here’s a theory: The post-2008 Republican Party is just a long con that isn’t interested in ‘winning’, or the presidency, but instead is waging a war of attrition on the Federal level while aggressively and opportunistically spamming the legal codes on the state level.

GOP’s ‘Happy Loser’ Syndrome: Why the Right May Not Want the White House : AlterNet

‘Free Market Solutions’:
“Though Houston is not quite as unplanned as its reputation — it doesn’t have zoning, but it does have a number of other planning rules — the city’s generations-long pattern of growing outward without densifying the core is starting to reverse itself.”
Sprawltastic Houston Is Densifying and the Courts Can’t Stop It : Next City

If you don’t, I will:
“Many adults can’t stand kids. The tragic thing is that some of them are already parents.”
Do You Hate Your Children? : Acculturated

even Facts and Math are offensive:
…when the facts and the math are against you.

“This week, the Chamber of Commerce released a report claiming that a new requirement under the 2010 Dodd-Frank financial reform bill that corporations calculate and disclose the ratio of CEO pay to an average worker’s pay is ‘egregious.’
“The report notes that the Securities and Exchange Commission, which has to issue the regulation, estimated that the new rule would require an average of just 190 extra hours of paperwork each year per company, costing an extra $18,000.”

…in related news, adding $180,000, $1,800,000, or $18,000,000 to a CEO salary is business as usual and not worthy of comment. Spending $18,000 to report on CEO pay is tantamount to communism, calumny, and catastrophe. Actually raising an average worker’s pay by $1800 annually is unthinkable. (apparently you need an MBA to understand the math on that.)

Chamber Of Commerce Claims Calculating How Much More CEOs Make Than Their Workers Is ‘Egregious’ : Think Progress

Some Speech is More Free than Other Speech:
…I guess it depends on who paid for it.

“If you can’t recall any Tea Party protests in 2009 and 2010 being broken up by baton-wielding, pepper-spraying cops in riot gear, that’s because it didn’t happen.”
Law Enforcement vs. the Hippies : Mother Jones

The other theory is that one side assumes we are all one society and that the proper functioning of democracy requires discussion — to say nothing of basic decency, respect, and common courtesy — and the other side wants to pepper-spray me in the face.

##

Diary entry for 25 May:

“The modus operandi is to LOUDLY accuse the other side of whatever it is we’ve been doing, for years – and without a single shred of self-awareness or remorse, and to DEFIANTLY proclaim that this constitutes a betrayal, a change in the agreed-upon rules, and dirty-underhanded-tricks.
“Because how dare the opposition stoop to the crap we’ve relied upon for decades. If they are going to resort to such base tactics, we *demand* they be smeared, besmirched, and potentially, forever handicapped in the future – for daring to use our own methods against us.”

I won’t tell you which side I’m talking about, but I think we all know, and that really says something. —M.

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Quick Webcomics Reviews - Megan Kearney's Beauty and The Beast

filed under , 23 May 2014, 12:05 by

[written 22 May 2014, for folks who find this at a later date]

Webcomics Roulette! Today’s target (chosen at random from a very long list) is…

Megan Kearney’s Beauty and The Beast
URL: http://www.batb.thecomicseries.com/
Writer & Artist: (not surprisingly) Megan Kearney

From the Site: [about page: http://www.batb.thecomicseries.com/about/]
“The story of Beauty and The Beast first appeared under this name in 1740, and was written by Gabrielle-Suzanne Barbot Gallon de Villeneuve, a French noblewoman. Villeneuve based her lengthy narrative on a number of other fairy tales and myths, reaching all the way back ancient Greece, and likely much earlier.” + lots more on the site

About the Author:
“Raised with a healthy love of books and storytelling, and an unhealthy love of comics and cartoons, Megan’s twin passions led her to earn her BA in visual arts, with an English minor, from the University of Windsor (during which time she also self-published her first comic) and then to Sheridan College, where she earned her BAA Honours in Animation, and produced her fairy-tale inspired short film, Once Upon a Winter Wood.” + more on the site

Tags: New Classic, old classics, not-so-Grimm
Format: multi-panel full page comic, “graphic novel style”, black & white
Vintage: first comic dated 1 September 2012
Current? – Yes. Most recent comic was 20 May.
Update Frequency: Tuesdays and Fridays
RSS Feed? – Yes. There’s also a Tumblr.
Archives: looks like …223 pages
Monetized? – Free-to-you, and ad-free as well, but yes – supported by a web store and Patreon

“Where Do I Start?” – For a fairy tale, there’s no better place than the beginning: Once Upon A Time…

Quick Take:

It looks like (from what we’ve seen so far) that Kearney is going for a classic Shakespearean Five Act Play — but the breakdown of ‘Acts’ into scenes (or chapters) and how ‘scenes’ play out in comic pages still leaves a lot of flexibility on how the story unfolds. (plus, you know, it’s not done yet – so I may be reading into things.)

“Husbands are easy to find! A good plowhorse is a whole other story!”

The sisters are named Beauty, Virtue, and Temperance — which means we’re already well outside the city limits of Disneyland, as well as providing (in context! show don’t tell!) a damn good reason why our heroine is named ‘Beauty’ to begin with.

“I’ve incurred a debt that cannot be forgiven. In seven days I must offer my life…”

Already we can see that this story is going to unfold much differently, even for those of us familiar with both dizneyfied fairytalez and the acting prowess of Ron Perlman. The Grimm scholars among us will already be lost, because Beauty v. Beast is a tale *outside* the ‘canon’, never collected by Los Dos Bros Grimm.

“…A Rose in Winter …You know not what it cost me.”

Characters are already questioning the coming narrative. The setting — to start, a single home in the unnamed woods — is made real by the common details and trivial actions of everyday life. The plain bricks of the hearth and the plain boards of the common table speak volumes about what this story is, and where it came from.

“A promise made—even to a monster—is a promise kept.”

And character interaction, and motivation, is more important than the plot we are all overly-familiar with.

“We can’t let him go back there.”

So, to give this webcomic a thumbs-up or thumbs-down is immaterial: Here’s a damn fine version of a once-familiar story, and after reading the first chapter you’ll either be captivated, or not. I myself am holding my breath that this adaptation is not only concluded, but that eventually we’ll be able to own a book version of it.

Nuts&Bolts: nav buttons, an archive, the basics — runs on ComicFury
Bells&Whistles: strip-by-strip comment system, + there’s a sparsely-populated forum (it’s a nice add-on, tho)
What’s that URL again?www.batb.thecomicseries.com

* I won’t upload art, images, or screencaps unless I see explicit permission given (Creative Commons or similar) so you’ll have to make do with links for many of the quick webcomic reviews – but I trust you remember what the mouse button is for. —M.



Links and Thoughts 14: 23 May 2014

filed under , 23 May 2014, 08:05 by

Grimes – Oblivion

Good Morning.

I need a good tag for sociology and urban studies:
“This trend is particularly pronounced in the United States where innovative companies are spurning isolated corporate campuses in favor of collaborative, dense urban spaces, forming innovation districts in cities.” …
“These companies are urbanizing because they need to be close to talented workers who favor places that are walkable, bike-able and connected by transit, and because they want to be near other knowledge intensive firms”
Forget big suburban campuses, innovative corporations are moving downtown : Quartz

Does a bear post status updates in the woods?:
Why the Pope is on Twitter but not Facebook : Quartz

Tech, but also a candidate for the to-be-named Urban Studies tag:
“Living in the majority of civilization where Google Fiber isn’t available, we unfortunate souls have to pretend it doesn’t exist.”
Google Fiber is the best internet service – it’s not even a competition : Geek.com

ibid.:
“I’ve long argued that the real reason sprawl, or suburban development as we’ve been practicing it, is a problem isn’t because it’s ugly, environmentally damaging, racist, or some other form of evil. The more fundamental problem is that it’s a long term financial loser. The numbers just don’t add up over the long term when you take a lifecycle view of it.”
When Sprawl Hits the Wall : The Urbanophile

##

Diary entry for 23 May:
I don’t know if you’ve noticed, but I read quite a bit on cities and livability, largely focusing on in-town living, sustainable density, and transit options — and that leaks into in the links I share and post.

We Don’t All Need Doctorates to solve these problems; in fact, the best solutions are intuitive and easy, because they work. [note: often the way we currently live does *not* reflect the best solutions, just inertia and failures of imagination.] We may not need graduate degrees, but I strongly feel that the choices we make need to be considered choices, not just thoughtlessly following ‘what we always do’ or letting one single economic aspect of a choice dictate our lives, and we could all use the flexibility to change our mind later and not let a single decision color or govern the rest of our lives, forever.

  • I strongly believe in choice. You want to live in the suburbs and drive 60 miles round trip every day? OK.
  • But I also believe in options. Many of us don’t have options, and that’s sad.
  • I believe in collective action – on a local scale: that’s a PTA, a neighborhood association, a country club* — but even I believe even more strongly in regional transit, interstate cooperation, and federal infrastructure projects. If you think you can dictate how often your neighbor has to cut his grass but balk when services and projects that would benefit millions happens to offended nothing more than your prejudices, preconceptions, and uneducated opinion — without any appreciation of the rich, fatty irony — then that is where we disagree. “Not In My Back Yard” begins and *ends* in your actual back yard, and I’m sick of good ideas and progress being stopped by myopic assholes. [Additionally, it’s a shame ‘Not In My Back Yard’ doesn’t apply equally to fracking, coal ash, industrial discharges into our water supply, mountaintop removal, or exploding fertilizer plants. Call me partisan.]

* clarification: an association of assholes does not make the whole less asshole-ish, nor does it make anyone less of an asshole if they hide behind such fronts… but I still respect your choices. What I can’t stand, though, are folks who act like dictators on the local scale but aggrieved victims if anyone tries to treat them like they routinely treat others. The wording on that is intentional; I invite the religious among you to ponder why I might use such parallel language.

I have made choices myself (see: http://www.rocketbomber.com/2011/03/06/the-local) so I know about trade-offs: I thought living in-town has more benefits than acreage and square feet, and being *able* to walk (when I choose to) matters more than being required to drive.

But I had the choice. I had options.

And this is where city planning intersects with social action: Manhattan and San Francisco are fantastic places to live, but what happens when they become gated communities and theme parks for only the wealthiest among us?

I’ll stick with urban studies, though, and try to avoid the sociology where I can: telling people what is possible usually works better then telling them the whole world they live in is a façade and past the paper-thin walls they surround themselves in, there is a seething mass of humanity — and the innovation, technical progress, and political force is on our side of the paper screen, not theirs. Some of the privileged few know this already — which is why the spend so much money trying to shape public thought, and retrenching the institutions that support that wall. [The wall is thin but the approaches to the wall are mined, moated, fenced, and intentionally labyrinthine. Increasingly, the wall is guarded as well].

[that went dark quick…]

Anyway, since I live in a city, and cities are where more than half of us live, and cities are the engines that drive our economy — and since the Federal government is gridlocked and running on autopilot, while the state governments are partisan and running on stupid, Our Cities are increasingly the only government we have that works (when they work; the partisanship and stupidity often finds stuff that works to be the *absolute worst offense* against whatever god it is they worship, and so the rest of us have to suffer).

…and so: I read quite a bit on cities and livability, largely focusing on in-town living, sustainable density, and transit options — and that leaks into in the links I share and post. —M.

##

Today’s Book Recommendation is Cities and the Wealth of Nations by Jane Jacobs. Jane Jacobs is better known for The Death and Life of Great American Cities — which is a classic book that describes the American City was, from 1870 to 1961, the year of its publication. Cities and the Wealth of Nations is a prescient book that tells us what our path can be. I have found it very instructive to return to Jacobs following the emergence of 21st century global trade, the success of Silicon Valley [the place; not the collection of companies], and the new cities we now live in. The reprint of this book is from 1985; none of these issues are new.

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Links and Thoughts 13: 22 May 2014

filed under , 22 May 2014, 08:05 by

Pentatonix – Love Again

Good Morning.

[It’s an open secret that I’m a big fan of Pentatonix – here’s a little something I put together for myself, if you need an introduction (2hrs40min) – yes, there is some cheese in there, but the music is worth trudging through the reality show framing]

##

I need a good tag for sociology and urban studies:
“Just a few miles from my house, right across the Maryland border from Washington, DC, sits a partially restored old amusement park dating from the Art Deco era. The old carousel still runs in season and delights kids; you can still buy cotton candy there. But it’s not really an amusement park today – there’s no roller coaster, and the old bumper car pavilion is now an occasionally used music hall. It is certainly unlike any amusement park I ever knew.
“Instead, today it exists as a place of respite for adults and of play for kids, and as an evocation of an amusement facility rather than a fully-functioning real one. It challenges visitors to bring our imaginations with us and meet it halfway, as a partial expression of the past and of a culture that no longer exists in the same way.”
Older buildings, continuity of place, and the human experience : Better! Cities & Towns

Media:
Want better online comments? Moderate, moderate, moderate, moderate : Nieman Journalism Lab

Music:
“Compositions have been protected by US federal copyright laws since the 1800′s. Sound recordings only became protected in 1972, around the time that technology—notably, good-quality cassette tapes—made it possible to bootleg music at scale. But this change was never applied retroactively, so recordings made before 1972 aren’t protected.
“That wasn’t an issue up until relatively recently, because there wasn’t much money in these old recordings. Terrestrial radio stations don’t pay royalties on sound recordings, from before 1972 or after; they only pay composition royalties (i.e., to publishers and songwriters).
“But under a federal law passed in 1995, digital music services—such as Pandora and Spotify, as well as digital radio like Sirius XM—do pay sound recording royalties. In fact they’re Pandora Media’s single biggest cost.”
The future of digital music may hinge on Elvis : Quartz

see also: “a dispute that is four decades in the making” – Record Labels Seek to Punish SiriusXM Over Pre-1972 Music : Hollywood, Esq. @ The Hollywood Reporter

##

Today’s Book Recommendation is The Death & Life of the Music Industry in the Digital Age by Jim Rogers. The most interesting assertion of the book is that independent record stores weren’t killed by the internet, but rather by price predation by Wal-mart and the like: a $5 CD hurts more than a digital-single download, because people who buy just the single and the market for Albums were and are different. Once the idea that a CD only costs $5-10 took root, the economics for record stores collapsed. If you want a counter to the usual drumbeat of music-internet-nonsense (or at least, a different point of view) Roger’s book is worth checking out. The link above is to a book review — I’m sure you can find places to buy it.

##

Diary entry for 22 May:
If patterns held, I would take the music links above and take this opportunity to start riffing about digital music, or the byzantine nature copyright laws. Either topic is too big to tackle in my three-paragraphs-and-a-snark format, so I’ll let it rest.

Too many projects demand my attention. It’s back to work. —M.

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Yes, all the links are broken.

On June 1, 2015 (after 6 years and 11 months) I needed to relaunch/restart this blog, or at least rekindle my interest in maintaining and updating it.

Rather than delete and discard the whole thing, I instead moved the blog -- database, cms, files, archives, and all -- to this subdomain. When you encounter broken links (and you will encounter broken links) just change the URL in the address bar from www.rocketbomber.com to archive.rocketbomber.com.

I know this is inconvenient, and for that I apologise. In addition to breaking tens of thousands of links, this also adversely affects the blog visibility on search engines -- but that, I'm willing to live with. Between the Wayback Machine at Archive.org and my own half-hearted preservation efforts (which you are currently reading) I feel nothing has been lost, though you may have to dig a bit harder for it.

As always, thank you for reading. Writing version 1.0 of Rocket Bomber was a blast. For those that would like to follow me on the 2.0 - I'll see you back on the main site.

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