What makes the Texas Tribune’s event business so successful? – Nieman Journalism Lab

The Austin-based news nonprofit is on track to generate a record $1.2 million in revenue from its events this year, including The Texas Tribune Festival, which starts today. What’s the formula?

When The Texas Tribune launched in 2009, Evan Smith says the nonprofit news site was in a “proof by assertion” stage. The assertion, in this case, was that there was an audience hungry for intensely focused-coverage of Texas politics and the industries, agencies, and personalities who inhabit that world.

Four years later, it’s safe to say they were right, as the Tribune has become a success story in the world of online journalism and nonprofit news — a model both for its journalism and its business sense. One measure of that business success? This year the Trib is on track to generate a cool $1.2 million on events and conferences. (That’s up from around $800,000 last year.) Smith mentioned that figure publicly earlier this month, so I thought I’d ask him about that milestone.

“It could be more,” Smith told me. “I honestly don’t know.”

The more, in this case, will depend on how the remaining events the Tribune will hold in 2013 turn out — including its biggest event, The Texas Tribune Festival, which begins today. Echoing the The New Yorker Festival, the Tribune Festival is a three-day extravaganza of education, health care, transportation, energy, and other topics that click with the Tribune’s audience. The lineup of speakers for this year’s festival includes some hot names of the moment, like noted endurance orators Ted Cruz and Wendy Davis.

Smith said he expects between 2,000 and 2,500 attendees at this year’s festival, and at a ticket price of $225 a piece, that translates into substantial revenue. Add in sponsorship packages and it’s not difficult to see how the numbers add up to a record year.

But for all its size and stature, The Texas Tribune Festival only accounts for about 40 percent of the company’s events revenue, Smith said. The rest comes from sponsorships of talks, panels, and other events the Tribune convenes throughout the year. It’s why Smith is so bullish on events and the potential they hold as sources of both content and revenue. “Make no mistake: It is the rocket booster of this operation,” he said.

Pack up and go on the road

The Tribune does between 60 and 70 events annually, which range from conversations in the TribLive series to panels, receptions, and symposiums. While the Tribune holds a number of those events in Austin, many are held on location around Texas. This year, the Tribune has hit San Antonio, Dallas, and Houston, with future stops in places like Waco, Lubbock, and Fort Worth.

For its Hot Seat events, the Tribune partners with a college — places like University of Houston, Southern Methodist, or Texas Christian. Next month at Texas Tech, the Tribune is bringing together three state legislators from the Lubbock area for a lunch time talk with people from their district. Smith said spreading out across the state means you can hold discussions on issues of regional importance, but also put state officials in front of audiences they may not meet regularly.

That’s also the case for the Tribune, Smith said, as in-person events around the state can introduce the site to new people. “I think there’s unlimited opportunities around the state to bring this content to college campuses,” Smith told me. It’s also an advantage of the Trib’s model — focusing on state government — since each election brings a new set of capital—hinterland connections.

Double up the audience: Turning live events into content that can live online

The talks, panels, and other events hosted by the Tribune are meant first for a live in-person audience. But because each event is filmed the talks can find wider audiences online, Smith said. “I think to be able to catch up on things on the site is a great benefit,” Smith said.

But rather than just slapping a two-hour video on the web, Tribune staffers select clips and snippets of conversation to break out as individual videos around important topics or themes. By packaging videos to supplement the conversation, the Tribune is able to extend the life of the event in new ways. For instance, it would be easy for the Tribune to put together a video series on candidates for the upcoming governor’s race from clips from TribLive events.

The videos can perpetuate a kind of loop. Each new video allows potential speakers and sponsors have another chance to see the work the Tribune does and how they could be involved, Smith said. It also keeps the events top of mind for the audience. “The best advertisements for the events are the events,” Smith said.

Mark your calendar, leave some flexibility

The Tribune keeps a busy schedule. In October, they’ve already got six events on the books, one just days after festival. April Hinkle, the Tribune’s chief revenue officer, told me they like to plan a slate of events early, which allows companies to figure out how an event sponsorship fits into their marketing budget. Some companies will sign on as a presenting sponsor for TribLive talks for the year, which for $30,000 gets them plenty of branding and mentions in promotions, at the event and on the accompanying videos.

texas-tribune-festival-credit-emily-ramshaw

At the Tribune Festival, companies have a broader buffet of sponsorship options, which range in price from $5,000 up to $175,000, Hinkle said. The price points offer different levels of visibility, and options like operating a booth, handing out literature, or hosting receptions, she said.

Even with that set calendar of talks, panels and other activities, the Tribune leaves a lot of flexibility in its calendar for the kind of timely or topical subjects that come up over a year. That’s how you get events abouttransportation, water resources, or the future of Latino health care in Texas. Hinkle told me sponsorships for individual events start at $3,000, or $7,500 for a series of three.

Now that the Tribune has been around for four years, companies have a sense of the site’s readership, what to expect out of the events, and how they can reach specific audiences, Hinkle said. “Really what we try to do is understand what sponsors are trying to achieve, and then use as many Tribune assets as we can to build an integrated program,” Hinkle said.

Everyone likes free, right?

With the exception of The Texas Tribune Festival, all of the Tribune’s events are free and open to the public. Smith said the idea of treating events as a kind of journalism content was part of the plan for the Tribune from the beginning. “The three keys of the Tribune are access, accountability, and transparency,” Smith said. And events bring all those things together for people in an open setting, Smith said.

Smith said they didn’t want to hold members-only talks, or private salons similar to The Washington Post’s ill-fated plans from a few years back. “We’re going to make certain the public is in the room. It’s absolutely on the record and not just open to to people who are donors — but everybody,” he said. Making the events free helps draw an audience, but it also places an extra burden on finding sponsorship dollars. So far, that hasn’t been a problem, Smith said. Most Tribune events rely on a variety of companies, interest groups, and other organizations to foot the bill.

“I think what is happening is we are getting traction in this idea that events are content in the same way traditional journalism is content,” Smith said.

Know your audience, chase your audience, embrace your audience

From the coverage of the legislature and the governor’s office, to the database work on public employee salaries, the stories and projects created by the Tribune are directed towards people who operate in and around the world of politics. But that doesn’t exclude a wider audience. Smith appreciates how Trib events can put public officials back in front of their constituents, Smith says. “There are people in districts who do not have to go back home and answer hard questions. They don’t have to go home and ask to be elected; it almost happens by default,” Smith said. “And yet we have got elected officials to go back to their districts and take questions from 200, 300 people.”

While the events can help broaden the Tribune’s reach beyond the halls of the statehouse, the intended target remains legislators, state officials, lobbying groups, lawyers, and other industries who have a stake in what happens in Austin.

The Texas Tribune Festival is perhaps the best example, the event Smith says: “We refer to it routinely as Woodstock for wonks.” The festival has now expanded to 11 tracks, each of which drill down into issues like education, criminal justice, and the environment.

Aside from providing a forum for all these discussions and panels, Smith said one of the biggest benefits of the festival is that convenes the people shaping the future of Texas. It may be a niche audience, but it’s one the Tribune has had success with so far, Smith said. “It’s a little like Meet the Press or Face The Nation,” Smith said. “You’re not getting the largest audience, but the right audience.”

What makes the Texas Tribune’s event business so successful? » Nieman Journalism Lab.

Categorías: medios

Journalism is curation: tips on curation tools and techniques | Online Journalism Blog

Curation is a relatively new term in journalism, but the practice is as old as journalism itself. Every act of journalism is an act of curation: think of how a news report or feature selects and combines elements from a range of sources (first hand sources, background facts, first or second hand colour). Not only that: every act of publishing is, too: selecting and combining different types of content to ensure a news or content ‘mix’. 

Amazon’s Jeff Bezos’ in his talk to employees at the Washington Post said: “People will buy a package … they will not pay for a story.” Previously that package was limited to what your staff produced, and wire copy. But as more content becomes digitised, it is possible to combine more content from a wider variety of sources in a range of media – and on any one of a number of platforms.

Curation is nothing new – but it is becoming harder.

Choosing the tools

I’ve identified at least three distinct types of curation (you may think of more):

  1. Curation as distribution or relay: this is curation at the platform level: think of Twitter accounts that relay the most useful links and tweets from elsewhere. Or Tumblr blogs that pass on the best images, video and quotes. Or UsVsTh3m.
  2. Curation as aggregation or combination: seen in linkblogging and news roundups, or galleries, or news aggregators (even creating an algorithm or filter is a journalistic act of selection).
  3. Curation as filter or distillation: this often comes in the form of the list: Buzzfeed is a master of these, distilling conversations from Reddit and complementing them with images.

Buzzfeed lists

There are also a number of ways in which the journalist adds value (again, you may think of more):

  • Through illustrating (as Buzzfeed, above, does with images to liven up highlights from a text discussion)
  • Through contextualising
  • Through verification
  • Through following up

As a journalist operating online, you are both reporter and publisher, able to curate contentboth at the article level and that of ‘publication’ – whether that’s a Twitter stream, a Tumblr blog, or a Flipboard magazine. Here are some suggestions for tools and techniques:

Lists: Twitter, blogrolls and playlists

Journalism.co.uk curation - twitter lists

Lists are an excellent way to get started with curation. After all, you’ll be making lists anyway: lists of contacts and lists of news sources are two basic journalism processes, so why not make more out of them?

Twitter lists are a no-brainer: these are essentially curated ‘channels’ of particular users that you value for some reason. Typical themes include:

  • Users who pass on information in a particular field (for example health journalists, workers and academics) or location
  • Users who share a particular quality (for example they are very funny, or fast)
  • Users who share a particular role (for example employers, or journalists)

For examples check out the Telegraph’s Top 50 fashionistas on Twitter or The Guardian’s 30 most influential sustainability voices in the US, or Sports Illustrated’s Twitter 100. Large numbers aren’t essential – ten or even five is a good start, and you can always ask users to suggest more, which can spark off a useful discussion.

Aside from the fact that you are probably compiling these lists anyway, there are other reasons to make them public:

  • The list is based at your Twitter account, bringing you new followers
  • The list establishes your authority as a well-connected reporter in the field
  • People on the list will be made aware that they have been added to it (Twitter will generate an alert in their feed, but also friends may mention their being listed). This can be a good ice-breaker to connect with those people.
  • A Twitter name is not a ‘contact’ – it is your relationship with the people behind the names that is your asset as a journalist.

Blogrolls and shared news feeds

Many blogs have a ‘blogroll’ of similar sites that the publisher recommends, which site in a separate column to your main posts and look something like this:

Blogroll

Image from RhodiaDrive

You can search for instructions or videos on how to do this in WordPress, Blogger, Tumblr, and so on – but you should also pay some thought to how to publish part(s) of that list (a top 5, or one type) as a blog post.

The same principle applies to news (RSS) feeds that you subscribe to from the same sites. These can be monitored using an RSS reader – but some readers also provide the facility to publish the feed as a public page. This post explains how to share a folder on Netvibes, for example. What is particularly useful about sharing a list of links this way is that – in a similar way to Twitter lists – you are actually curating a live ‘channel’ rather than a static list, which means people are likely to return again and again, and share it more widely.

For an example, see 50 feeds for journalism students, which used Google Reader’s bundle feature (no longer available).

More broadly, you may want to consider a news roundup such as ‘Today in healthcare‘ (which doubles as a liveblog), or picking a discussion and illustrating the best of it, asBuzzFeed do regularly with articles like ‘21 Brilliant British People Problems‘ (curated from aReddit discussion thread)

One other idea: events listings. You’ll have your own editorial calendar – why not make more of it?

Video and audio playlists using YouTube, Spotify, Last.fm or Soundcloud

If you want to make a list of multimedia material, it’s worth thinking about the easiest way for people to consume that multimedia. Do you want them to have to play each video separately, on a blog post – or do you want them to be able to play them all together, with one click? (Tip: it’s not an either/or choice – why not do both?)

YouTube playlists will allow users to do the latter – as well as allowing them to discover it on the world’s second biggest search engine (YouTube has more searches than Yahoo or Bing), and save it to their YouTube favourites or use other functions on YouTube.

CueYouTube is one tool that allows you to do this without even using YouTube itself.

For an example of curating video which first appeared in print, see The 20 online talks that could change your life, from The Guardian’s G2 supplement.

You can do the same thing with music using playlists on services like Spotify or Last.fm.

More interestingly, for more general audio Soundcloud offers a ‘set’ feature, and Audioboooffers a ‘board’ feature.

You might even want to curate a ‘list of lists’ by finding other playlists using services likeShared PlaylistsLast.fm apps, or Audioboo’s boards directory.

Image curation: Pinterest, Flickr pools

pinterest martha stewart living

guardian flickr pool datablog

Image curation deserves separate treatment – it is perhaps the most established form of curation, spawning a host of apps and services from Instagram to Pinterest – while older image sites like Flickr have had sets and collectionsgroups and pools for some time now (you can also create slideshows, with a range of third party tools which will do that for you). Many also allow video. Ink361 allows users to curate Instagram photos, as do services likeStorify – treated separately below.

The Guardian’s Datablog Flickr group and Martha Stewart Living’s Pinterest are particularly successful examples from magazine and news publishing, and illustrate two different approaches to image curation:

  • Theme – anything from a category like ‘home furnishings’ (the more specific the better) to something more abstract like ‘green’; and:
  • Specific event or information – for example, visualising data on housing, or a gallery of images from an event

The former is often about filtering and identifying some sort of quality, or stimulatingsome sort of reaction(s). The latter is often about telling a story, something which is increasingly done by news websites such as The Daily Mail, where articles like ‘Bake Off bloodbath‘ are largely curated image galleries.

And as we move onto stories, we need to look at mixed media.

Mixed media: curation using maps and timelines

Tools like Dipity and Meograph allow you to place curated material within a particular format: maps and timelines.

Here, for example, is a timeline of the Birmingham City of Culture bid by then-second year undergraduate student Kellie Maddox – it combines video with links to news reports and other documents (photos can also be added). The timeline can also be viewed as a map, list, or ‘flipbook’.

Dipity timeline viewDipity list view

Meograph is more focused on mapping the story, and makes it easier to provide an audio narration. This works for stories that take place across different locations, but the geographical element can feel strained in examples like this history of Whitney Houston’s life, so use it only where movement between place is important.

Meograph snapshot

Meograph – image from Journalism.co.uk

Curate your own magazines with Flipboard

flipboard magazines

Flipboard is a ‘social news magazine’ – essentially an RSS reader without saying so. In that sense it is a personal curation tool – but there’s also a public functionality too: magazines.

You can create a Flipboard magazine by going to https://editor.flipboard.com. Articles can be added to any magazine by clicking on the + icon next to any article in the Flipboard app (which you can also use to create a new magazine) or by using the browser bookmarklet as explained in the FAQ when you are on an article of interest. You can customise the cover and other elements in the editor view.

Flipboard recently made it possible to view magazines on a normal desktop browser even if the user does not use Flipboard themselves. Here’s an example of a magazine curating articles on web security for journalists which I recently published.

Curation as a platform: Tumblr, Storify – and Twitter again

At the start of this post I mentioned that curation took place not just at the level of the article, but at the level of the platform too. Services like Tumblr and Storify reinvent this for the internet age.

Storify is the ultimate curation tool, allowing you to pull in content easily from Twitter, YouTube, Facebook, Google Plus, Flickr, Instagram, other Storify stories, and the wider web using the search box on the right.

The Storify search box

The Storify search box – find content quickly

Results can be dragged into the main story area, and rearranged, before adding explanatory or narrative text, subheadings and a headline. Alerts can be sent to Twitter users who are quoted, and the whole can be embedded on another webpage or blog post.

It’s particularly good for curating coverage of an event from journalists, observers and participants – but is adaptable to anything you think of. I’ve used it in the past to collect a discussion that took place between multiple users across hours on Twitter into one place.

Because of this flexibility it is worth considering Storify as a platform in its own right, at least alongside your core blog for covering events, discussions and background (or any stories where material is spread across multiple public sources).

For a similarly efficient curation platform take a good look at Tumblr. Tumblr has quietly risen to become the most visited blogging service in the UK, with research suggesting that it is becoming the platform of choice (along with Instagram) for teenagers fleeing Facebook.

The Tumblr upload bar

The Tumblr upload bar gives you clear content options

Like Flipboard, you can share items on Tumblr by using a bookmarklet on your browser – but you can also type original content or upload images (including sets) from your computer or phone. The curation is in the content mix over time rather than a single piece of content – so try to anticipate this from the start and pick a clear niche for your Tumblr blog’s focus – you can always have more than one.

Finally, the tool we began with – Twitter – can perform a similar function at a platform level. Sharing useful or interesting links either as a standalone service (like the automated aggregator @impatientnhs) or alongside your own observations and content can prove a successful content mix – and it’s generally easy to do so from RSS readers like Feedly and Flipboard. Linking is after all central to online journalism – so make sure you do it habitually.

UPDATE: This great Storify by Kevin Sablan goes into more detail about what curation is in a cultural context, and how journalism uses the same skills. It also links to this Mindy McAdams post on 7 types of curation in journalism.

Journalism is curation: tips on curation tools and techniques | Online Journalism Blog.

Categorías: medios

Forget Google Glass. These Are the Interfaces of the Future – Wired.com

Forget Google Glass. These Are the Interfaces of the Future | Wired Opinion | Wired.com.

Categorías: General

Spotify Sued for Not Deleting User Playlists – Hollywood Reporter

How much originality is there in putting together a compilation album?

The answer could inform an interesting new copyright case in the United Kingdom.

There, Ministry of Sound, a London nightclub that has successfully extended its brand by putting out compilation albums featuring popular DJs, is suing Spotify. According to The Guardian, Spotify has refused MoS’s demand to delete user playlists that copy its compilation albums.

“Everyone is talking about curation, but curation has been the cornerstone of our business for the last 20 years,” MoS CEO Lohan Presencer tells the newspaper. “What we do is a lot more than putting playlists together: a lot of research goes into creating our compilation albums, and the intellectual property involved in that. It’s not appropriate for someone to just cut and paste them.”

In dance circles, the pulsating beat of the music has been known to cause sweaty bodies. In copyright circles, there is something known as the “sweat of the brow” doctrine, which could apply here.

The doctrine holds that creativity is not what is essential to copyright protection, but rather the tireless effort in creating a work. It has served to protect factual compilations.

For example, in West Publishing Co. v. Mead Data Central, the 8th Circuit Court of Appeals in 1985 extended protection to the plaintiff’s system of compiling and reporting opinions of state and federal courts. Over the years, the decision has been heavily criticized, and frankly is one of the reasons why many of the documents coming out of the judiciary system are cloaked from those who would like to offer up wider access in the digital age.

Not everyone is so keen on the “sweat of the brow” doctrine.

In 1991, a dispute over the copyrightability of phone books made its way up to the U.S. Supreme Court, and in Feist Publications v. Rural Telephone Service Co., Justice Sandra Day O’Connor criticized the “

a compilation, like any other work, is copyrightable only if it satisfies the originality requirement,” stipulating that “not every selection, coordination, or arrangement will pass muster.”

That’s legal precedent in the United States. How about the U.K.? It appears that the situation is no different. According to The Guardian:

“The case will hinge on whether compilation albums qualify for copyright protection due to the selection and arrangement involved in putting them together. Spotify has the rights to stream all the tracks on the playlists in question, but the issue here is whether the compilation structure — the order of the songs — can be copyrighted.”

Is there originality in such order?

If so, and an entity like MoS can guard against user playlists that serve up music in essentially the same way that its compilation albums do, then perhaps it’d work the other way too: Spotify users who make creative arrangements in their playlists could shut down compilation albums like Now That’s What I Call Music! (Such an event would be remarkable since Now is owned by major labels which would theoretically face action over their own music.)

For now, MoS is attempting to score points by establishing some form of unfair competition from Spotify’s allowance on letting users make playlists with some 20 million tracks. Presencer makes the point that when the company acquires licenses from music labels to put out its compilations, “they do not grant us the rights to stream those compilation albums.”

Spotify Sued for Not Deleting User Playlists.

Categorías: musica

How videos go viral on Twitter – three stories | Twitter Blog

What is it that makes videos go viral? It is one of the big questions in digital marketing. While there is no single magic formula, we’ve come up with some key insights after tracking the stories behind three recent viral videos.

Our UK Research team looked at popular videos that are all very different in nature. They range from Dove’s Real Beauty campaign to the Ryan Gosling “won’t eat cereal” videos and Commander Hadfield’s ‘Space Oddity’.

One of the key things we learnt from looking closely at these three is that videos don’t go viral in the same way. There are no rules to “virality” — while some ignite, and spread like wildfire across the web, the growth of others is much more measured, like ripples spreading across a lake.

How videos go viral on Twitter - Ryan Gosling Won't Eat His Cereal

In each of the dynamic visualisation videos you can see how fast the three videos went viral. In each one, there’s a mixture of blue and yellow. The blue nodes represent Tweets; the bigger they are, the larger the potential reach of that Tweet. The yellow dots represent retweets. In each case, reach takes into account not just followers, but also audience size and amplification by retweet.

Vine videos: Driven by Retweets

1. “Ryan Gosling won’t eat his cereal”

This video took its creative expression through Vine as a pop culture gem, comprising a series of six-second clips of A-list actor Gosling being offered spoonful’s of breakfast cereal.

The videos, created by @RyanWMcHenry, were carefully seeded with key influencers in the world of Vine such as @BestVinesEver and @VineLoops. This ensured that the videos went viral quickly, echoing the online journey of a major breaking news story.

Key insight – The success of the Gosling viral points to the power of effectively seeding your content with the top influencers and how if you hit just a small number of those it can in some cases go global.

The videos

How it went viral

2. Culture: Commander Hadfield ‘Space Oddity’

Singing astronaut Commander Chris Hadfield gave a rendition of David Bowie’s ‘Space Oddity’ while he was orbiting the Earth aboard the International Space Station. It spread quickly around the globe; more than 90% of shares took place in the first three days after he posted it.

Key insight – Link mentions peaked fast and were driven by global influencers. The viral effect demonstrated sustained growth that was driven by a single person’s effort. Hadfield’s link was much more appealing to the crowd because of its unique nature than a more earthbound video and as a result he featured much more prominently in the sharing of this video than other viral examples.

The video

How it went viral 

3. Brand Campaign: Dove

The video for Dove’s Real Beauty Sketches #WeAreBeautiful campaign spread very differently to any of the others, and was largely driven by a long tail of link-sharing and by positive audience sentiment.

Key insight – This video showed less burnout than the others, and there were also fewer influencer-induced spikes. Instead, conversation existed in clusters of communities spread around the world — showing the value of local engagement — and highlighted the good use of a digital outreach programme.

The videos

How it went viral

Twitter video insights

1. Twitter users love video

Tweets containing video have strong engagement rates, with 42% likely to retweet, reply, or mention brand Tweets that contain a fun or interesting video.

2. Videos are easily shareable

Videos integrate seamlessly into a Tweet, and every Tweet is instantly shareable. Make sure you devise a hashtag to organise the conversations around the video campaign and messages.

3. Promoted products amplify your reach

Use Promoted Tweets and Trends to help surface and amplify your message. Combine with interest and keyword targeting to hit the right audience.

4. Get creative with Vine

Vine lets you create six-second looping videos that are instantly shareable on Twitter. And if you really love it you can Re-vine!

If you have questions about our findings, reach out to the researchers directly,@jakesteadman and @lougirlie.

How videos go viral on Twitter – three stories | Twitter Blog.

Categorías: twitter

Four Ways Social Media is Changing Journalism – Yahoo! Small Business Advisor

Header image courtesy of PBS.org

Seconds after the first bomb exploded at the 2013 Boston marathon, social media erupted. In minutes, media giants like The Boston Globe were harvesting content from thousands of sources on the ground; verifying and broadcasting information at unprecedented rates.

The ensuing manhunt led to the most profound example how social media is altering the face of journalism. More threatening than when print was overtaken by radio and television, journalists need to evolve with social media in order to retain their eminence as the go-to news source.

But how, as journalists, can you build a following that opens their news app before their Twitter one? Or better yet, save print media from extinction?

Journalism and Social Media

Journalists have adapted quickly to the emerging new media paradigm. Yet, as with most things, it didn’t happen overnight. Today’s most prominent social ‘Thinkfluencers’ are the product of trial and error.

Since the inherent nature of communication is such that individuals are more likely to source information from each other — rather than traditional news agencies — information sharing has become decentralized.

Whether it’s sourcing the initial information reports during the chaos of the Boston bombing, breaking the story or tracking analytics on a controversial follow-up piece, here are a few ways social media management can help journalists get the most out of their stories.

1. Source From the Street

Four Ways Social Media is Changing Journalism image mandelaFour Ways Social Media is Changing Journalism

Images sourced using theStatigram app on the HootSuite dashboard. Search by keyword (like ‘mandela’) and find compelling user sourced content.

When the Egyptian government blocked access to social networks like Facebook and Twitter during the wake of revolution, citizen journalists from all over continued to share the story in real-time via HootSuite. Quickly these individuals became the centrepiece of every headline and update released as the world waited with bated breath.

Similarly during the Boston bombings, marathon runners and bystanders rapidly became citizen journalists, taking photos and videos of the aftermath. Quick to pull out their camera phones, the most-read headlines featured on major news networks were sourced from citizens.

With the right tools, crowdsourcing is easier than ever for journalists and news agencies. Literally thousands of citizens are taking photos and videos every day, developing an endless archive of sourceable content, and it’s all just a keyword search away.

2. Master the Art of Listening

Whether a company, individual or idea, HootSuite’s search streams let you track key users and listen to specific conversations while blocking out the white noise. The drag, drop and widen stream feature makes for easy tracking and organization, allowing you to seamlessly move people from your search stream into a Twitter List.

Use the geolocation feature to narrow down your search to a specific region, country or even city. This way you can guarantee that you’re one of the first ‘on the scene’ and quickly identify a story’s key stakeholders.

Retroactively sift through Tweets from weeks, months or even years prior, to gain context on the history of your topic by customizing ‘since’ and ‘until’ parameters in your stream. Next, partner your search with one or multiple keywords and you will find valuable data in seconds.

Tip: Don’t forget about your collaborators and competitors. Create a list on your dashboardcontaining publications, editors and journalists.

3. Amplify Your Story

Four Ways Social Media is Changing Journalism image journalism infographic1 e1374623514409Four Ways Social Media is Changing Journalism

Infographic Courtesy of World Wide Media

Avoid spamming your followers. Regulate the flow of your social posts by creating various timezone friendly posts and scheduling them in intervals.

The Auto Scheduler lets you schedule and curate tweets, continue engaging followers and maintain genuine online discussion.

Also, take your streams with you using the mobile app. This way, no matter where you are, you don’t have to be in front of your computer to keep tabs on any leads.

Tip: Use the Quick Search function to follow current trends and hashtags.

4. Analyze the Results

HootSuite’s built-in Analytics, powered by the handy ow.ly link shortener, automatically syncs with your accounts, creating digestible weekly, monthly and annual reports.

Try finding influential users who are engaging with your content by filtering using Klout scores. While you’re at it, drag those users to a new list. You will value this resource later on when you need to amplify future posts and reach out to extended networks.

Finally, archive your story-specific search streams using HootSuite’s archive feature. This allows you to store the valuable information you gathered and reference it later for follow-up articles or recaps.

Is traditional journalism going extinct? Share your thoughts with us by commenting below.

Four Ways Social Media is Changing Journalism – Yahoo! Small Business Advisor.

Categorías: medios

El whatsapp de Susana: “Accidente. Ni sé si saldré. Me ahogo. Aplastada” – EL PAÍS

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 “Accidente. Ni sé si saldré. Me ahogo. Aplastada”. Es el whatsApp que Susana Relaño, de 46 años, envió a su marido a las 20.45 del pasado miércoles desde el tren siniestrado en Santiago. “Yo la esperaba en A Coruña y cuando avisé en la estación aún no sabían que el tren había descarrilado. A los cinco minutos mi mujer me envió otro mensaje de WhatsApp que decía: “Estoy a salvo”.

Arcadio cuenta cómo fueron los cinco minutos más largos de su vida al lado de su mujer, que milagrosamente salió con apenas unos rasguños en las piernas y ya ha sido dada de alta en el hospital de La Rosaleda de Santiago.

Aún no se lo creen. Solo el bolso de Susana, lleno de sangre, demuestra que estuvo allí, en el octavo vagón de un tren siniestrado en el que 78 personas murieron y ella, milagrosamente, logró sobrevivir. Ahora se van a pasar el fin de semana a Santander, a celebrar que han vuelto a nacer.

El whatsapp de Susana: “Accidente. Ni sé si saldré. Me ahogo. Aplastada” | Galicia | EL PAÍS.

Categorías: tecnologia

Consumers Less Willing to Pay for Content as Free Apps Surge – Mac Rumors

According to a new report from mobile analytics firm Flurry, free apps supported by ads and/or in-app purchases are becoming an increasingly popular choice for developers and consumers alike, with 90% of iOS apps now being offered for free. In 2012, that number was just 84%, marking a 6% increase over the past year. 

freeapps

Some might argue that this supports the idea that “content wants to be free”. We don’t see it quite that way. Instead, we simply see this as the outcome of consumer choice: people want free content more than they want to avoid ads or to have the absolute highest quality content possible.

Flurry also compared the pricing of both Android apps and iPhone and iPad apps, finding that iOS users are generally more willing to pay for content. The average Android app price as of April 2013 was $0.06, while the average iPhone app price was $0.19. 

iPad apps have traditionally been more expensive with developers charging a higher premium for more screen real estate, which caused the average iPad app price to be a good deal higher than Android or iPhone apps at $0.50. iPad apps, on average, are priced 2.5 times higher than iPhone apps and eight times higher than Android apps. 

appprices
Due to the uptick in free apps, Flurry suggests that consumer behavior indicates ad-supported content will continue to surge, and that ads in apps are a “sure thing for the foreseeable future.” 

Flurry collects its data from the more than 350,000 people that access its Flurry Analytics tools.

Consumers Less Willing to Pay for Content as Free Apps Surge – Mac Rumors.

Categorías: dinero

A New Way for Musicians to Make Money on YouTube – Businessweek

In 2001, composer Scott Schreer wrote a roughly two-minute saxophone-heavy acid jazz instrumental called Love Doctor, and the song lives in an online catalogue of music that he licenses to film and TV producers. It also exists in some 1,500 YouTube (GOOG) videos that used the song without paying for the rights. Hunting those stray recordings and trying to collect licensing fees has never been worth most musicians’ trouble. In May, however, Schreer started getting paid by the former freeloaders.

Love Doctor and Schreer’s library of about 1,700 other tunes now bring his company about $30,000 per month from their use in YouTube videos. He’s the test case for a New York startup called Audiam that says it can help artists profit when others use their music. Jeff Price, Audiam’s founder and a friend of Schreer’s, pitches musicians like this: “Let’s go find you money that already exists.”

Big record companies and music publishers already have deals with YouTube to collect money when their songs show up in videos. Small artists and composers don’t. Price wants Audiam to be the middleman for them. When YouTube ads appear on videos while their music is playing, Audiam will claim a share of the revenue and send it along to the artist—minus a 25 percent cut. “It’s magic money,” Price says. “It’s buried treasure.”

Price has helped indie artists profit before. In 2006 he co-founded TuneCore, which lets musicians distribute their songs to iTunes and other online markets. He was ousted by the board last year in a nasty public feud, and he launched Audiam as his next act.

He picked a giant target in YouTube. The Google video-sharing website streams 6 billion hours of video each month. By one estimate, YouTube contributes 10 percent of Google’s revenue, which topped $50 billion last year. That would put YouTube’s revenue at about half of what’s spent on billboard advertising in the U.S.

Audiam was launched abroad in mid-June and will be ready to work with other artists in the U.S. by late July. Musicians can sign up for free and send the company their songs, granting Audiam the right to license them on YouTube. Audiam scans the gargantuan library of YouTube videos to find where those songs appear. The company does this with YouTube’s ContentID system and a separate piece of “audio fingerprinting” software called TuneSat developed by Schreer (he has a partnership with Price). Then Audiam authorizes YouTube to put advertising on those videos.

When Price and Schreer plugged Love Doctor into the system, it found 1,500 videos that had been played more than 100,000 times over 11 days in May—good for $120 in licensing fees, according to Schreer.

Few artists will see the kind of cash that Schreer now gets from Love Doctor and the rest of his catalogue. Schreer owns Freeplay Music, a library of hundreds of songs meant to be background music for videos. For a garage band with a couple of albums, any YouTube revenue will be “a little extra gravy,” says Aram Sinnreich, a media professor at Rutgers University and author of the forthcoming book, The Piracy Crusade. And Sinnreich says Audiam’s 25 percent cut is steep: Organizations such as Ascap and BMI that represent performers and songwriters typically take around 10 percent. (Price maintains that performing rights organizations collect more than that on YouTube; Ascap and BMI did not immediately respond to queries.)

Still, Sinnreich says, Audiam is poised to benefit from music consumers’ shifting habits. “The writing is essentially on the wall for the download model,” he says, as fans switch from buying music on iTunes to streaming songs on such sites as Spotify, Pandora, and YouTube. That’s proving to be a lousy way for even successful artists to earn money. Plenty of striving musicians would welcome revenue from YouTube clicks. “There are tens of thousands, maybe hundreds of thousands of independent composers and performers whose work does appear on sites like YouTube,” Sinnreich says.

And if a song like Love Doctor happens to show up on a video that achieves “Gangnam Style” reach, Audiam can make sure the musicians get their due. Says Schreer: “If someone takes the music you wrote as a garage guy in Minneapolis and puts it into a cat video that goes viral, you’re doing pretty well.”

A New Way for Musicians to Make Money on YouTube – Businessweek.

Categorías: musica

¿Qué nos creíamos?- EL PAÍS

Hace unos meses, antes de que Snowden convirtiera la política exterior en un capítulo de Homeland, tuve una revelación. Imagino que mucho después de usuarios de Internet más avispados que yo, pero también antes que otros que hasta hace unos días han vivido en la inocencia. Estaba contestando correos cuando el pensamiento revelador cruzó mi mente. Fue una idea tan sólida que me levantó de la silla como un resorte: decidí que a partir de ese momento no escribiría nada en mi ordenador que no pudiera defender públicamente. No pensaba solo en algo tan pueril como los “estados de ánimo” que uno comparte entre sus conocidos en las redes sociales, también me refería a los correos de naturaleza privada, a los que se mandan con algún tipo de confesión a los amigos, a los hijos, a la pareja. Nada, las intimidades se acabaron en el ciberespacio.

Varias circunstancias me influyeron para tomar tal decisión. Es posible que en mi mente resonara el eco de la reseña de un libro que acaba de salir, Big data, en el que se analiza cómo las grandes corporaciones relacionan datos privados destilados por cualquier listado online para llegar a los posibles clientes en modo de oferta o publicidad. Los consumidores de Amazon, por ejemplo, ya sabían que de sus compras por correo esta empresa deducía los intereses lectores de sus clientes y mandaba listas de sugerencias bastante acertadas; pero lo que parece rozar la ciberficción es saber cómo la cadena de hipermercados americana Wallmart adivina que alguna de sus clientas está embarazada antes de que esta se haga el predictor. Parece magia, no lo es. Nuestra mente especula con conclusiones estadísticas, pero no, las empresas predicen nuestro futuro cruzando datos: edad, intereses, cambios en los hábitos de consumo, movimientos de tarjetas de crédito. Y es que a lo largo del día vamos dejando pistas de quiénes somos, hasta tal punto que ellos acaban sabiéndolo mejor que nosotros mismos. Recuerdo el agobio que sentía cuando en el siglo pasado encontraba mi buzón físico lleno de publicidad. Era un milagro encontrar una carta personal entre tanta maraña. El agobio no era sólo por la labor de desbroce que llevaba todo aquel papeleo, también se trataba de una ansiedad ecológica al imaginar los árboles talados inútilmente por un derroche de papel que iría inmediatamente a la basura. El correo electrónico evita tal ansiedad, pero la abundancia de mensajes publicitarios que irrumpen en nuestra bandeja de entrada ha acabado provocando el mismo desconcierto: entre tanta información comercial que te mandan sin pedirte permiso, ¿dónde quedan los mensajes personales?

En los periódicos que leo aparecen anuncios de tiendas que he visitado. En alguna dejé estúpidamente mi dirección, en otras, no, mis datos fueron vendidos o intercambiados. Como buena hipocondriaca que soy, suelo confesarle mis síntomas al buscador. Sí, yo también lo hago. Y es asombroso cómo esa diabólica mente consigue relacionar un dolor de brazo con una mala digestión, y ofrecer un diagnóstico. A mí, los médicos reales nunca me han seguido tanto la corriente. Como resultado de mis pesquisas médicas, recibo a diario recomendaciones homeopáticas, compuestos vitamínicos para reforzar la memoria, tratamientos con envío a domicilio para conciliar el sueño o publicidad de todo tipo de almohadas. Un resumen patético de lo que soy.

Hace años que mi pobre procesador mental consiguió relacionar dos términos que además riman graciosamente: internauta con incauta, porque envié mensajes impulsivos, hice públicas opiniones que se difundieron, a mi pesar, o escribí a presuntos amigos que reenviaron frívolamente mis mensajes. ¿Discreción? Eso no existe en este medio. Internet acuñó como propio el verbo “compartir”. Compartimos ideas, textos, música, artículos, noticias, fotos, defendemos airadamente este nuevo campo sin fronteras, pero, ay, que no nos toquen la privacidad. Suele haber unos mensajillos muy enternecedores en Facebook que los usuarios cuelgan en sus muros y que alertan a los “amigos” de los pasos a seguir para que en tu espacio, en tu muro, no haya fisgones indeseados e indeseables. Hace ya tiempo que no me atengo a ese protocolo: sé que mi teclado no es el de una máquina de escribir. Lo sé incluso antes de que Scarlett Johansson le mandara a su novio una foto desnuda, o antes de que la concejala Olvido se masturbara ante el pueblo español.

La confesión pública del joven Snowden ha desvelado prácticas inquietantes: los pueblos amigos se espían entre sí. Ya no hay aliados que valgan. Cualquier ciudadano está bajo sospecha, y los Gobiernos pueden comprar o exigir los datos que nosotros, incautamente, hemos cedido a las grandes corporaciones. Pero qué queríamos: ¿compartir nuestros deseos y preservar nuestra intimidad?, ¿y cómo se hace eso navegando por este abrumador océano que no se concibió a la medida del hombre? No puedo decir que no me haya sublevado la revelación de Snowden, pero que conste que la mía se produjo antes: cuando decidí que no escribiría aquí algo íntimo o inconfesable. Mi pequeño acto de resistencia consiste en contar los secretos en persona. Y no sé por qué, sospecho que poco a poco irá aumentando el batallón de resistentes.

¿Qué nos creíamos? | Opinión | EL PAÍS.

Categorías: tecnologia