Tuesday News: Spotify’s musical networks, Nielsen takes on video, romancing the motorcycle club, and Superman’s new look
So their big cost isn’t maintaining an archive of music. So what does Spotify, which is valued at nearly $6 billion, actually do? Well, it organizes those songs, backs them up, and then deals with the frustrations of making them available over the Internet to 60 million human beings. Obviously one copy of the whole database can’t serve all those people, but it doesn’t make sense to keep 60 million copies, either. Finding the middle ground is an ongoing engineering challenge. And they need to account for bandwidth: Sending data over the Internet is still one of the more expensive things a digital business can do. Which leads to another back-of-napkin estimate: If compressed audio weighs in at between 2.4 and three megabytes per minute, and you have 60 million users listen to ten hours of music a month, that’s around 86 petabytes of data per month. Using Amazon Web Services’ calculator to estimate the costs, that might run you $4.5 million a month. –New Republic
There has been some Nielsen bashing at this season’s upfront, and there may well be more before we’re all done. Just to be clear, what is it that you can measure right now, what can you not measure, and what is a work in progress, in terms of video content?
We can measure live and time-shifted TV. We can measure ad-supported VOD and we can measure mobile viewing of video ads. The pieces that we are in the process of adding are, firstly, over-the-top viewing, which will be accelerated so that by the end of the year we will be able to include over-the-top viewing in ways that our clients demand. The second is the launch in September of the Digital Content Ratings, in partnership with Adobe. That will measure not only ad viewership, but viewership of the program. Media companies will be able represent the total audience of a particular program, no matter how it is viewed, by whom or on what platform or device. –Wall Street Journal
The writer Hunter S. Thompson, in his book “Hell’s Angels: A Strange and Terrible Saga,” later blamed “The Wild One” for creating a new breed of American outlaws inspired by the good-guy, bad-guy characters in the film.
“The truth is that ‘The Wild One’ — despite an admittedly fictional treatment — was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror,” Thompson wrote. –Mashable