Democratization of content not so democratic

Democratization of content
Democratization of information
Democratization of media

I’m noticing more and more use of the term “democratization” in articles about the media business.

The term is especially popular in discussions about social media. Social media, a relatively new term, has come to mean those Internet tools that facilitate the “wisdom of the crowd” model where meaning and value are derived through mass collaboration. Examples of social media sites would be such Web 2.0 stars as Wikipedia, Myspace, Facebook Digg, Flikr and Youtube.

Here’s an example from an article by Brian Solis, the owner of the Silicon Valley public relations firm FutureWorks PR.

Social Media is the democratization of content and the understanding of the role people play in the process of not only reading and disseminating information, but also how they share and create content for others to participate. It is the shift from a broadcast mechanism to a many-to-many model, rooted in a conversational format between authors and people.

Democratization, as I understood it, had to do with an authoritarian government moving towards a less oppressive, more open society. When applied to media or content, democratization has come to mean a move away from a perceived old and authoritarian media – the major TV networks, film studios, record companies and newspapers – towards a seemingly less oppressive, personally created environment provided by web technology where content is readily available, is free, and can be delivered based on ones likes and dislikes or even the likes and dislikes of one’s network of friends.

We are naturally attracted to words like democracy or democratization in the United States. It’s in our blood. We learn early on that democracy represents freedom. So when democracy is applied to terms like media and information, it’s easy to believe that this must be a good and positive thing.

My own feeling is that democratization can’t realistically be applied to information at all. By casting the media as authoritarian, the term can be used politically by those technologists who are trying to wrest power away from the established media towards their new Web 2.0 innovations.

Content is evaluated on quality, on how well it informs, entertains, teaches or illuminates truths. Using “popularity” as its measure is to greatly misrepresent it.

I enjoyed this blog post by Andrew Keen, author of last year’s controversial book The Cult of the Amateur. He points out in his blog post The end of the middle that democratization of media is in fact a falsehood and that, in reality, wealth and power are just being reallocated to new companies like Google, YouTube, Facebook etc.

On or Off Target with Hello Good Buy? – Poll

Target Corporation has been using the Beatles classic Hello Goodbye in its recent TV advertising. One spot aired during last Sunday’s Grammy Awards broadcast. They have changed the word Goodbye to Good Buy morphing the song’s refrain into an ad slogan “Hello Good Buy, Hello Good Buy, Hello Good Buy….” The campaign is “Say Hello to Good Buys at Target”.

Hello Goodbye is a song from the Beatles Magical Mystery Tour album and was a number 1 hit for the Beatles in both the US and UK in 1967.

Licensing classic songs is attractive to advertisers (those with deep enough pockets) because they can then begin to trade on the cultural significance of the song. Hello Goodbye is part of the soundtrack for a whole generation (or more). By licensing the song, advertisers leverage this collective, accumulated experience channelling it to sell merchandise. But does our culture (do we) pay a price for this?

How does hearing a classic song like the Beatles' Hello Goodbye
as soundtrack in a TV commercial affect you?

View Results

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There are several spots using Hello Goodbye. Each has a different musical style or arrangement. Here is one version taken from YouTube.

New Royalty free classical music from UniqueTracks

UniqueTracks, a provider of royalty-free media production tools, including music soundtracks, sound effects and animated backgrounds, is happy to announce the release of 2 new royalty free classical music 4-volume CD packs. These new series concentrate on music from the Romantic Era of classical music (from 1820 – 1890).

19th Century Pack Vol. 2 This set includes works of French masters like Gabriel Faure (Requiem), Hector Berlioz (Symphonie Fantastique), Claude Debussy (Prelude to an Afternoon of the Faun) and Erik Satie (Gymnopedie).

Other featured composers include Felix Mendelssohn (Scottish and Italian Symphonies), Franz Liszt (Faust Symphony and Hungarian Fantasy), Mussorgsky (Promenade from Pictures at an Exhibition) and Ottorino Respighi (Roman Trilogy).

Romantic Concerto 4-Volume Pack contains over 4 hours of orchestral music showcasing virtuosic solo performances for piano and violin.

The concertos featured here are part of the classical repertoire and continue to be performed to this day. Volumes include performances of

    Tchaikovsky’s Piano Concerto No. 1 in B-flat Minor,
    Grieg’s famous Piano Concerto in A minor,
    Piano Concerto 1 & 2 by Franz Liszt,
    Felix Mendelssohn’s Violin Concerto in E minor and Piano Concerto No. 2 in D minor
    Piano Concerto in A minor by Robert Schumann
    Max Bruch’s beautiful Violin Concerto No. 1 in G minor

Each single volume can be licensed separately. Each individual track can also be licensed and immediately downloaded in WAV or MP3 format.