Rembrandt painted The Night Watch between 1640 and 1642. It was commissioned by 16 members of a civic militia guard company who paid 100 guilders each.
But while the Rembrandt is famous, the same guard company commissioned seven other artists to paint their portraits around the same period. This made the artist nothing more than a commodity.
And it makes Rembrandt’s work one of the most famous early examples of sponsored content.
This was on my mind last week as I attended a conference on media convergence organized by The Economist. Executives, marketers, and designers discussed subjects including social media, 2.0, and well, the sponsorship of content. Here are some highlights.
Craig Newmark, chairman of Craigslist, said, “Trust is the new black.” Not surprisingly, personalization is his take on 2.0. He also said Leonard Cohen is his rabbi.
Bonita Coleman Stewart of Google sort of said the same thing–everything’s going local. For marketers it’s about quantitative measurement, assured return on investment. “Marketing,” she said, “is the new finance.”
Sony Pictures boss Michael Lynton, a man much at ease with himself, pointed out that the movie business used encryption early to minimize piracy. Sony Music Entertainment’s Thomas Hesse, on the other hand, a man haunted by piracy, had the air of someone pushing water uphill with a fork. He seemed a lot more skeptical about peer-to-peer communication.
What does this have to do with Rembrandt?
Well, at question time I asked Twitter chairman Jack Dorsey this question: “How are you planning to monetize Twitter? How will you avoid the Media 1.0 model of content sponsored by companies?” Or words to that effect.
Twitter needs income, it has no revenue–just like Amazon and Google before it. But if you’re going to be 2.0, then you can’t be the advertisers’ bitch. Everyone’s so very tired of the uninvited guest, the corporation.
His answer was pretty practiced. Simply put (although he’s measured and articulate), Twitter is waiting it out–like Google did before settling on Adwords. Watching the marketers, watching the technologies develop.
Not the raging passion against 1.0 that I was hoping for, but room for hope. Ironically while we sat there in New York, Google was announcing Social Search, a new product, in San Francisco. Twitter competitor? Hybrid? Got any Advil?
Speaking of hybrid, at the same conference, 10 newish products were showcased. For me two broke the surface, both a well-designed balance of real world and virtual world.
First Poken, an anime-style token you can hold between two fingers. Touch yours to someone else’s, and you exchange digital DNA–whatever you’ve uploaded. It’s eye contact and remote networking in one.
The other is the Ovei, a “digital media experience capsule” by British designer Lee McCormack. It’s everything from a Formula 1 racecar simulator to a zen getaway for you or me.
Nearly all the design ideas were life-enhancing and worthy. But they, like Rembrandt waiting for his next commission, like Twitter, face the same dilemma: how to “monetize” with integrity.
The age-old creative problem.
Graham Button is a writer from London who worked in advertising formore than twenty years. He took the scenic route to Genesis, passingthrough agencies in Hong Kong, Toronto, and finally New York, where hewas a creative director and executive vice president at Grey Worldwide.He has created advertising in most media for every kind of brand andall sorts of companies, including Diageo, Kaiser Permanente, MolsonBreweries, GM, and South China Morning PostNewspapers. Beaver Creek, one of the Vail Resorts brands, chose tofollow him to Genesis from Grey. Work he originated as a copywriter orchampioned as a creative director has been recognized in awards showsin Los Angeles, Toronto, New York, London, Cannes, Hong Kong,Singapore, and Sydney and has been featured on America’s Funniest Videos and Larry King Live.