Kristin Hersh

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classes_from_kids

The impulse to teach is a powerful one. For me, it provides me with my Joseph Cambell “bliss.”

It’s not just me, of course, who has this compulsion to share what I know. My kids (ages 6 and 8) recently set up an elaborate instructional day for my wife and me. They made signs and schedules for the classes each was going to teach; Annabelle taught dance, Henry: arts and crafts.

They delighted in sharing information about something they felt they had expertise in.

I talk a lot about how the key to marketing is shifting the burden of promotion from the band/brand to the fan/customer. This truly is a requirement if you’re ever going to experience real growth. However, it’s easier said than done.

One way to shift this burden is to think of your fans/customers as teachers in waiting.

For a product/service/band to cross the chasm from early supporters to a larger group (early majority) the product/etc. must either improve one’s life without requiring the user to learn new skills, or – if it does require new skills to be learned – improve a customer’s life in a very substantial way. The DVD player crossed the chasm because of the former — it improved users’ lives without forcing new skills to be learned; it’s a VCR, but better. The iPod crossed because of the latter — it radically improved peoples’ lives, even though requiring new skills to be learned.

There’s an interesting relationship between products that do require new skills to be learned and teaching.

Think about it: if a new product/service/band requires the user to learn new skills, it means, axiomatically, that people have to invest time in understanding/appreciating the product. Once this time has been invested, and they are rewarded for their effort — i.e. the product really does improve their life; again, the iPod being a good example: hard to understand at first, but once grasped, impossible to imagine living without — the customer has a true knowledge surplus that is looking for an escape valve. That escape valve manifests in the form of teaching.

Those who mastered the iPod early on were the ones who taught others. They did this directly and by blogging, etc.

The same is true for pretty much every product/service/band that isn’t just an iterative approach that slightly improves upon a predecessor.

Whether it’s a new fitness fad (think about all the Cross Training or Tough Mudder “experts” out there right now) or bands (I was an R.E.M. “teacher” back when people were interested in deciphering what Stipe was going on about in “Laughing”; I had done the research, etc., and was eager to share. Phish, Rush, The Grateful Dead, At The Drive In, etc. all have experts who guide the “newbies.”) or wine, or technology, or cars.

Anything that has a steep learning curve that rewards those who make the climb, tends to result in compelling some percentage of those who took the time to understand the benefits of the product/service/band to help others understand. They become sherpas; guides who make the climb more navigable, and, thus, flatten the learning curve for others.

The key is that those who make the climb now have this knowledge surplus, and tend to actively look for people to foist this upon. Ever been around someone who has lost a bunch of weight because of a new diet? Ever been around someone who has recently started training for a marathon/taken up Yoga, etc.? They can’t shut up about it.

Same deal when someone has “cut the chord on cable.” They will expound relentlessly on how they’ve done this to anyone who will listen about the relative merits of the AppleTV versus Boxee.

Don’t get trapped around someone who has just “seen the light” about Thomas Pynchon or DFW, or had an epiphany regarding John Cage, or tasted their first Domaine de la Romanée-Conti.

When something goes from esoteric to understandable, people have…well…something resembling a religious experience. (Of course, you really don’t want to be trapped around someone who has just had an actual religious revelation.)

Religious or otherwise, these people who have put work into something, and seen the light/benefit all become the same things: evangelizing teachers.

This is the best possible thing that can happen to a product/service/brand.

No longer does the company/band have to explain the (clearly, difficult to explain) benefits of their product/service/music, their customers/fans do it for them.

This is the truest “burden shift” in terms of having your customers promote your work that can possibly occur.

It’s imperative therefore, whether you’re a band or brand, that you encourage those who self-identify as potential evangelists with the tools to become teachers.

    Think about how certain restaurants have “hidden” menus.

    Think about how artists, such as Kristin Hersh provide access/benefit to super-fans.

    Think about how Yoga studios offer Teacher Training certificate classes, knowing that many/most of those who attend will never become official Yoga teachers.

    Think about how certain restaurants offer customers the opportunity to cook with the chef.

    Think about Avon (certainly MLM is frequently an unsavory example of this concept, but when it works…).

    Think of how many tech companies “promote” certain members of their forums to the role of moderator

    Video games.

    Easter eggs in DVDs, etc.

    up up down down left right left right B A

In each of the cases above, a certain group of people are more in-the-know than others, and therefore take the lead in exposing new people. They have knowledge about something they are passionate about, and are driven to seek out others for whom they can equalize this information asymmetry via their teaching.

There’s tremendous opportunity for most bands/brands to cultivate an environment — an architecture of participation — where their most passionate users become teachers. In so doing, they not only reward those who have put forth the effort to understand the benefit of the product/music, but also provide them with an outlet to share their knowledge, and, in so doing, attract new customers, some of whom will also become teachers, spreading the knowledge even further.

We are all teachers. A company/band who provides their customers/fans with the ability/permission to educate others about their company/band is creating bliss. Bliss sells.

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One of my greatest frustrations with respect to marketing has been that while I speak often about human’s predisposition to share, we’ve yet — in the entertainment realm — developed a way to encourage/reward sharing/sharers.

A bit of background. It was when music/books/movies/etc. went from being objects (analog) to being information (digital) that people could finally satisfy their hard-wired impulse to share with no downside.

Prior to this, if I wanted to share an album/book/DVD with you, when I gave it to you I was deprived of my copy — you win, I half lose/half win. Post the shift to information, when I share my digital versions with you, I still keep my copy — we both win.

This switch, naturally, had a massively disruptive impact on media (and other) businesses. It’s really the underlying cause of the crumbling of the firmament of the old-school media businesses. We’re doing what we’ve always done/wanted to do (share information), it’s just that now, with the switch from objects (analog) to shareable-information (digital), scarcity-based economic business models are left scrambling to find a purpose that can be monetized.

In any case, we can all agree with Mark Earls when he says:

Human beings are to independent action, as cats are to swimming. We can do it if we really have to, but mostly we don’t…. Instead, we do what we do because of what those around us are doing (Whatever our minds and our cultures tell us). So if you want to change what I’m doing, don’t try to persuade me — don’t try to make me do anything. I can’t make anyone do anything. They do what they do because of their peers.

So, we as content creators desperately need to encourage our constituents to share. In the past, I’ve made facile suggestions to artists (musicians, visual artists, etc.) to attempt things like “buy one, give one free” in the analog realm. That is, when someone buys a CD at your show, offer them a second for free, with the request that the person buying the CD give this second one to someone they believe will appreciate the music. Same with prints of photos, etc.

While not exactly the most innovative (or measurable) strategy in the world, I still think there’s merit to to this approach. However, it doesn’t really scale, and I’m constantly asked by people with whom I work if there’s a way to reward digital sharing.

So far, what we’re seeing is variants on the “RT for song” that firms like CASH Music have developed. I, of course, love this type of approach, and hope more utilize it (Disclosure: I’m a proud CASH board member).

However, I believe this approach needs to be expanded upon.

I genuinely hope that artists in 2011 take the approach that when a customer purchases their digital work, they are presented with the opportunity to email a copy to a friend they feel will appreciate it. Perhaps this is part of the transaction cost that the initial customer must bear. In other words, prior to the original customer gaining access to the digital work, she must not only pay, but also enter a verifiable email address of one of her friends, who she believes would enjoy the work.

If this all sounds vaguely familiar, it should. Beyond the fact that I’d be surprised if someone smart in the media world hasn’t tried this (it seems like, for instance, something Topspin or Kristin Hersh would be doing), it’s very consistent with what appears to be an emergent tenet of social entrepreneurship. The most visible example, of course, being Toms Shoes. Their “One pair sold = one pair donated” approach is not only virtuous, but also great marketing.

When I introduce the concept of social entreprenuership to my students, the very first example I offer is Toms Shoes. When I ask how many people have heard of Toms, typically two-thirds of the students raise their hands. There are very few companies that when I ask my students if they’ve heard of that I get that type of response. And, yet, to my knowledge, Toms has spent little on traditional advertising. Rather, their conceit of “buy one, give one free” has done the work for them (of course, there are costs associated with Toms’ approach, but I’m guessing these are less than what a traditional ad campaign would cost, and clearly their approach is more effective and vrituous).

I’ve long felt that there is a linkage between social entrepreneurship (“team of teams,” small groups, emphasis on “changemakers,” “purpose-driven brands,” etc.), and the creative arts. I believe both can learn from each other.

I do hope that more in the creative arts glean from social entrepreneurship this notion of “buy one, give one free.”

I’ve been frustrated by the lack of a mechanism for this type of sharing of information, which makes it easy for the existent constituent to introduce the work to her friends. As above, one may exist, and, if so, I’d love to see some examples, so please leave them in the comments.

Here’s hoping we see this develop in 2011.

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A while back I made a promise to try and engage in more random acts of creativity; things get very dark around the Ponderosa when I don’t.

I’ve done OK with this, but I’m certainly not where I want to be in terms of frequency.

I was thinking about why my output hasn’t been what I’ve wanted, and some of it comes down to my damnable Virgo personality of needing to refine things rather than letting them be/go. While I’ve come to be largely OK with this, it does stand in contrast to much of what I preach with respect to getting stuff out there and refining.

What happens is, I’ll start with a sketch of a song or of a…er…sketch, and rather than keep it as just a sketch — a moment — I add layers.

The question is, do these layers really add anything? Isn’t the essence where it’s at?

I think the answer is that, yes, the essence is there…or it isn’t. Refining is not necessarily a bad thing, and, often, is absolutely necessary. But sometimes it’s more necessary to just create, and let the essence be what it is or isn’t.

I think if there’s something there, you’ll come back with a different eye, a different approach, and you’ll refine. If there isn’t something there, coming back to it a billion times won’t get you any closer to the truth.

To that end, I was taking a break from the jaberwocky a bit ago, and came upstairs from my office; the kids were running around in circles (not kidding), and I picked up my guitar. I’m fascinated and obsessed with staccato rhythms on guitar that imply melody, and am always on the hunt for these. A drop D and a capo later, I had the feel of something. I plopped my iPhone with the voice memo app running on my knee and banged it out.

My intention was to use this iPhone recording to just remember the idea of the tune. But then I started thinking of all the layers I would add to it, and it became less about doing something fun and cathartic and more about planning a time when the house would be quiet, the phone wouldn’t be ringing, etc.

Pretty soon I was tired just thinking about it.

So, screw it. Here’s the iPhone recording. Yes, that’s Henry running around in circles talking about monsters. Yes, that’s me breathing. Yes it goes out of time at one point.

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Mouse and Pin Cushion

Once again, I’m honored to use, with her kind permission, one of Kristin Hersh’s amazing photos as the title inspiration.

If you want to hear real songs, head on over to Kristin’s Site; lots of amazing things going on over there.

I hope those of you who read Ye Olde Bloggee don’t mind these little moments of internal contemplation and their collateral manifestations.

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Sachuest Point

This is an older instrumental that’s been looking for a name for a long time. Since I’ve been inspired by Kristin Hersh’s, “Kristin With an Eye” images to connect my songs to her visuals (ala “Southern Waste”), I though it made sense to finally give it a name.

Here’s Kristin’s image that retroactively inspired the song:

And, here’s the song:

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Sachuest Point

It was written many moons ago upstairs in the little make-shift studio I put together above the Ryko offices in Gloucester. I’d disappear on occasion, when the business overtook the art, to try and remember what pulled me into this business in the first place.

The sort of drone-y under current in the song is a dulcimer. While sort of thought of as the autoharp’s less cool cousin, dulcimers are actually pretty happening. Have a listen, for instance, to this:

“Everybody hit the ground,” indeed.

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Sachuest Point by George Howard is licensed under a Creative Commons Attribution-Share Alike 3.0 United States License.

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photo by Kristin Hersh

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Southern Waste

These are songs I write to quiet the madding crowd. I do them very quickly – like sketches – and present them warts and all (or all warts).

They’re licensed under CreativeCommons, so please feel free to use them.

A note about the title/image. One of the hardest parts of writing instrumental music is coming up with titles. Happily, Kristin Hersh, in her genius, posts a new photo to her blog every day. Not only do these images inspire me, but they also provide fantastic titles. With Kristin’s kind permission, I’m attaching my little songs to her images.

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Creative Commons License
Southern Waste by George Howard is licensed under a Creative Commons Attribution-Share Alike 3.0 United States License.

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