by Ben Elowitz

This article was published as a guest post at XConomy, and is republished here for Digital Quarters readers.

I’ve been taking in Google’s recent release of “Search, plus your world” (or SPYW as the cool kids say) over the last several days, reflecting on what it means for Wetpaint and other media companies; but perhaps even more importantly, deeply understanding what it indicates about Facebook and Google themselves. As we all know by now, these most recent changes are meant to make its search more personal by up-weighting social activity in its algorithm, and using each person’s own position within their circles to determine relevance.

You might think that I would be one of the first to jump in the game with Google. After all, my company Wetpaint has been making a massive investment in distributing our content via other social channels, particularly Facebook. We’ve been seeing massive returns. And, I’ve even gone on a limb to predict that Facebook should be implementing its own Web-wide search this year.

Still, when it comes to playing Google’s social games, so far I’ve advocated staying on the sidelines of all their social venues—even their recent business pages. That’s been because even though the stadium lights are on, no one is on the field. More specifically, even though Google has 90 million registered users of the service, we see very little activity of significance among our target audience. But with its new SPYW changes, the question is: Has Google indeed forced companies’ hands?

Unfortunately, they have. And, in doing so, it marks a milestone in the changing mentality of Google. The search company’s great innovation—using the signals of the Web to best determine what the audience really wanted—has now been subverted. The company’s originally unshakable-seeming ethos of mechanistic neutrality has slowly, slowly, slowly, and now all of a sudden given way, and the new precedent is to favor its own business interests over those of the audience.

The result, like it or not, is that companies that rely on search for traffic must hear and obey loud and clear Google’s message that Google will favor those that favor it. It’s a dirty truth, and one far more chilling than the other more technical biases of its algorithm before.

Google has already started infusing search with the content that’s been blessed via Google+. Do a search for “New York Times” and you’ll probably find the New York Times plus.google.com page as the second search result. Search for “Mark Zuc” and you’ll likely see Zuckerberg’s Google+ page (despite the irony) populate as an option in the Google Instant choices.

I haven’t seen this bleed over to news stories yet, but I believe that it’s coming. Soon you’ll do a search for the latest headlines and your search results will be chock full with musings from your friends and non-friends inside Google+.

Google+ may not take off as a real social network, but Google has indicated that it’s throwing its full weight behind it anyway to make the best of what it’s got. Even if consumers don’t adopt it en masse, whatever activity is present will pepper the famous algorithm’s search results.

The irony here is that Google’s pivot toward a social search belies how important that social data is. The company is putting its lock on search at risk to gain a chance at a foothold on social. But what really comes through to me is that a great social search can be a winning product—if it’s populated with the right social data. So far, Google’s is not.

The question is—if that’s what I’m after—won’t I still just go to Facebook, where all my friends actually are (and which Google has adamantly cut out of SPYW)?

While SPYW does force publishers to support Google’s social network, fortunately it will be a temporary sacrifice from publishers during this period of transition from these days of search to a socially wired world. And that forthcoming world looks increasingly like it will be wired not by Google, but by its arch-enemy Facebook. Indeed, by corrupting the quality of their search product, Google may have just opened up a clear product entry into search for their rival as well.

by Ben Elowitz

Jonah Peretti’s Buzzfeed has been especially buzz-worthy of late, first with a $15.5M capital raise, and more recently via some fascinating brow-raising editorial hires.  First, Ben Smith from Politico and then last week, Doree Shafrir from Rolling Stone… and surely more are on the way. It’s a surprise direction to build original content for a site that had been more of a virality aggregator.   Why the sudden change, especially considering BuzzFeed has been so successful at acquiring audience?

Here’s my two cents:  Virality is a multiplier.  But like any other “x-factor”, it can only make things valuable relative to how much they’re worth to begin with.  A 10X booster can add 9 cents to a penny; or it can be worth $90 by turning a Hamilton into a Franklin.

BuzzFeed is among the best on the planet when it comes to this kind of multiplication.  And when you’re that good, it only makes sense to start working on the base rate.  That means beyond building buzz, the company needs to build a premium brand to attract premium advertisers to its core product and audience.  In media, the best way to make a strong brand that attracts high dollars to begin with is with outstanding content.

I’ve been fascinated to see that at Wetpaint. We now see more than 12 million uniques monthly:  nearly 6 million on our user-generated wiki platform; and 6+ million more on our premium Wetpaint Entertainment property.  They both have great virality that helps them draw audience.  But the original editorial in Wetpaint Entertainment makes the advertising worth even more – and it’s an even more valuable business model.

Premium content plus social distribution means a high base, and a high multiplier on the business model.  And it’s the perfect combination for a successful business model.  Congratulations to Jonah and team for all the success they’re having!

by Ben Elowitz

This article was published as a guest post at TechCrunch, and is republished here for Digital Quarters readers.

Without question, one of the greatest gifts of the human species is our ability to communicate.  We can create, transmit, and absorb ideas with immense freedom in pictures, speech, writing, music, and more.  And yet, from the earliest days of man until very recently, the state of the art of media has been about as sophisticated as cave paintings.

Taking this a step further:

Truly great communicators don’t start out by focusing on their message.  They start with their audience.  They research, observe, and monitor every knowable detail – from background facts beforehand to micro-reactions during the conversation – and adjust their content and delivery precisely, so it will make an impact.  But it’s not like this is a secret formula.  Even toddlers do it, carefully measuring parents’ reactions and perpetually tuning in to the behavior patterns that get them the attention they want.  That tuning is carefully optimized to achieve maximum effect from each individualized recipient.

Meanwhile, media has virtually ignored its audiences.

But it’s finally beginning to open its eyes and ears to them through personalization. I believe that personalization has the greatest potential to transform the media business.

But before we get to that, let’s start with what’s gone wrong in media that has made us blind to our audiences’ cues.

In the world of print and broadcast, there was fundamentally no data about audience interests or reactions.  It was impossible to “read the room,” because the room was pitch black.  If media leaders’ eyes were closed, I’d be hard pressed to blame them; there was nothing to see.

As a result, there were two operating principles that made sense at the time, but which have since become outdated anachronisms.

First, that an editor should serve as oracle for what the audience desires (I call this the “Editor Fallacy”); and second, that content created in that vacuum of data should then be distributed as broadly as possible (let’s call this the “Broadcast Assumption”).

These two assumptions – even though they came from the print and broadcast legacy businesses – have errantly managed to drive the entire Web media mentality.

And the resulting misguided formula – across the board – has been Prophesize, Publish and Proliferate.

The big hope with this media Ouija Board has been that the guesses will be right, and that those who broadcast widely will then draw a big audience.  When the guesses miss the mark with audiences (no surprise there), publishers turn up the volume or amp up the sensationalism. To some degree, this is why the Huffington Post succeeds with its brash and blaring headlines, and it explains why, thanks to Henry, we’ve collectively Blodgetized Web 1.0 media.

But to make room for the new media model of the next 100 years, we need to let these old assumptions fall by the wayside.  The new vision is for media to start doing the work that each member of the audience already does; and that means deliberately selecting and contextualizing the media we each consume.

Putting it simply: media’s great opportunity is to bring the right content to the right person at the right place and time.

And this is where things get very interesting.

Bring Me My Very Own World

The social transformation of the Web has already taken us half way down the road toward a personalized future.

We finally recognize that the Web is made up of people, and Facebook and others have made people and relationships the key “nodes and edges in the graph” of the Web, replacing pages and links.  The social Web is now people-centric; and, increasingly, social is becoming the operating system for the Web at large.  Most impressively, “what my friends like” is already proving to be a good starting point to predict “what I like,” and so much of the Web is beginning to get at least a clue of how to serve us.

Despite this tremendous progress, however, when you go behind the scenes, the Web is still organized by data, not by people. Server data is affiliated with accounts; cookies are associated with Web browsers; and activity logs are tethered by IP addresses.

And yet, as the social revolution has proven, the real value of the transformation has been to stop looking at me as an IP address, a browser, or an account; and to start holistically realizing that I’m a person – I am me.

So, the great opportunity is to move from a Web of sites to “my” Web of me.

Media is at a critical transition point today, because we are about to completely redefine our sense of the audience. Starting now, the audience is no longer one massive opaque agglomeration. It’s not a “them” or an “us”; it’s a lot of individual “me’s.”  (This must-watch from Monty Python paints the picture.)

In this context, the Broadcast Assumption of content creators is completely out of touch with the 21st century zeitgeist.  It revolves around the played-out maxim of “create once, distribute everywhere,” which made sense when audiences were opaque and distribution channels were just big dumb pipes.  But it totally ignores the “me’s” in the audience – when it comes to both creation and distribution.

The bottom line, then, is that media experiences, which used to be one-size-fits-all, must now be customized so they’re just for me.

In other words, the media experience of the future must take a cue from Facebook, and bring my world to me – regardless of where it originated. 

The Six Elements of Ultimate Digital Personalization

Social represents progress toward this vision of fully personalized media, but it’s only one part of the game.

In my view, there are six key elements that contribute to ultimate digital personalization – and these elements are the basis for the ultimate success model in digital media:

  • It’s social – What happens to people close to me is important, because these people are important to me.
  • It’s curated – People aren’t just content sources themselves; they’re also curators. To know me is to know my tastemakers.
  • It’s an experience, not just a stream –Newsfeeds and timelines are a meager start.  Twitter’s 140-character format is great for insiders, but it’s inscrutable for Grandpa. Personalized media should come in all formats – not just a feed.  And it will be more powerful (and more profitable) when it creates an immersive experience.
  • It’s incredibly, incredibly smart about what it recommends, and what it doesn’t – But better than today’s Facebook and Twitter, it brings me the right content, not all content. I trust it to filter the world for me, and to highlight what’s important to me out of billions of pieces of information.
  • It’s self-refining – Speaking for myself, it would know to bring me news about digital media; about my company; about my friends’ reviews of great restaurants in Seattle, LA, and New York; and, in the winter, a helpful article or two on snowboarding tips would be greatly appreciated. It would also turn down articles about Glenn Beck, and turn up the latest find from Brian Stelter. And, before you cry (or scream) “filter bubble,” let’s get it straight that this is what I do already.
  • It’s not just the content that’s personalized – It’s the advertising, too. Today’s version is very primitive: I go to a Web site once and its ads follow me around for weeks. But, instead, my demographics, interests and intent should all combine to inform what ads to show – and not show – me.

After considering these six elements as a whole, I’m most inspired (and encouraged) by Facebook, Twitter, AOL Editions, the recent Flipboard clones, NetFlix, and the potential of a new Siri-powered Apple TV.

Each of these demonstrates the central aspect of this new vision for media: bringing my world to me.

Data Is the Currency of Personalization

To be successful, we all need to be data companies – as data is the clear way to know what our audience wants.  Data is the currency of personalization, and so it is our best path to delighting our audience.

News sites should know by now what topics and stories to program for whom; and no sports site should serve a balanced home page when no sports fan likes all teams equally.

It’s an approach that, of all companies, Yahoo! ‘gets’– and for them it’s been paying huge dividends for a long time.   And so it should for the rest of us.

What this means for media is that it’s not all about the content – instead, it’s all about the audience.  And that means the nature of media has changed.

It’s all about you. It’s all about me.

That’s the digital media future. And we need to start going there today – because audiences are asking (and even demanding) that we pay attention to them, that we really know them, as true individuals.

So, if you’re a publisher, here’s the challenge as you try to create meaningful content experiences today: Each member of your audience – no matter how vast it is – has to become the most important person in the world to you. Or, looking at it in a slightly different way, you have to become deeply involved and digitally intimate on a global scale each and every day.

by Ben Elowitz

This follows my recent post about how a new TV interface from Apple could decimate the television landscape.

Even though Steve Jobs never talked about changing the face of search with Siri, its natural language interface.

But doing so would certainly be a riveting Hollywood screenplay in which Jobs, the uber-innovative, uber-inventive CEO, ultimately gets revenge on a corporate rival he views as a “copy cat.”

In this fictional script, that rival would be Eric Schmidt, one of the top executives at search giant Google. It’s Google, after all, that’s breathing down Apple’s neck with its rapidly expanding Android phone platform – a platform that, according to Jobs and his lawyers, mimics Apple’s breakthrough iPhone technology.

Putting this Oscar dream aside, there’s intensifying competition heating up between Apple and Google, even though Jobs is –sadly – no longer on the scene.

Indeed, even though Google has had voice-enabled search for some time on iOS and Android devices, Schmidt has said it’s possible that Siri could be a real and radical game-changer.

Schmidt may be right.  And if he is, then Google will be facing a serious threat as Apple reinvents Google’s home turf of search.

With a “personality” that displays a unique understanding of humanity, Siri’s digital chromosomes enrich the user’s experience. This sets it apart from Google’s more mechanical offerings, and shows why Apple’s consumer-obsessed culture is so different from Google’s corporate DNA, which is as robotic and algorithmic as the “Android” name suggests.

There is rich irony here, as Apple disintermediates the greatest disintermediator of all time.  When Google’s superior search service started, it practically single-handedly reduced the brand-driven experience that consumers had thereto relied on with directories and a fully editorialized Web.  Google replaced those channels and home pages with 10 blue links.  And in the process, became users’ destination of first resort 13 times per day.

And Apple has always been a curator extraordinaire – developing collections and exercising famous (and occasionally notorious) judgment to determine who deserves to be in its directories of songs and apps.

But now, Siri stands ready to flatten the world of entertainment.

In all fairness, Page and his team are now trying hard to enrich the user experience by aligning their YouTube brand with media companies like Disney, and doling out big dollars for proprietary programming. The hope here is that YouTube can create dozens of lucrative user-friendly / user-favorite Web channels featuring comedians, sports stars, musicians and other entertainers.  The company is building stocks of its ‘own’ media weapons in preparation for the coming war.

But, as always, it will be hard for Google to win the hearts of consumers when it comes to content; and it will be especially daunting because Apple is already so completely connected to users.

Meanwhile, with its enviable consumer connection, Apple will undoubtedly extract a toll from media companies, who still want to bathe in the warm digital light that emanates from the inviting and engaging brand Jobs built.  And, as it has in every other media category, Apple stands to capture an outsize share of profits for delivering content into a magical consumer experience.

Jealous much, Google?

by Ben Elowitz

When it comes to the emerging world of social operating systems, I’ve said before that there can be multiple winners.  It’s been clear that (at least in the U.S.) LinkedIn is the dominant one for business, while Twitter serves as a backstage wire service for content producers and distributors.

Of course, we’ve all also known intuitively that Facebook has taken the lion’s share of the consumer market.

But until we ran an analysis, I didn’t realize just how extreme Facebook’s domination is when it comes to consumer usage.

How about 95%!!!

That’s on the basis of time spent by U.S. audiences on their PC’s, according to comScore data – and it signifies almost complete control of the category.

In terms of being relevant to consumer audiences, there’s now no question that “social” means “Facebook.”  And, if you want to take advantage of the more than 1 in every 7 minutes of online time that consumers spend on Facebook, you follow one simple rule for media in a social age:

You must be present – in the Facebook newsfeed – to win.

by Ben Elowitz

Back by popular demand is an updated ranking of the Media Industry Social Leaderboard.  As a reminder, my company and I are obsessively focused on data about the social web – so much so, that we decided to track and publish not only our own results, but those of the top 50 media companies.  This is all captured in the chart below which profiles the top 50 web publishers’ effectiveness at driving traffic from social media.

For the inquisitive among us, you’ll note that we determine the top 50 relevant web publishers; then, using data from Compete.com, we determine and chart how much of their traffic is from Facebook and Twitter.

One important note is that Facebook’s changes in its algorithms launched at F8 impacted nearly all publishers in this ranking – more on that in a moment.

But first, let’s get to the results:


Facebook Traffic Down by 13%.

The first thing you’ll notice is that the bars are lower this month. In fact, over 90% of the top 50 web publishers saw a decreased percentage of their visits coming from Facebook and Twitter in October, with the bars shortening on average by 50 basis points.

In terms of aggregate performance, if you sum the total Facebook visits for all properties, they’re down 7.1% October vs. September, and 12.8% comparing October vs. the pre-F8 August highs.  We believe this trend is the direct result of the F8 algorithm changes made in mid-September.  Savvy social publishers (ourselves included) have been battling to reclaim previous highs since the F8 changes; but by October few had recovered.  The chart below highlights the reduction in referrals from Facebook to publishers over the course of their algorithmic change.


Winners and Losers:  CBS down; People, MTV, Wetpaint up

CBS has continued to fall in social traffic composition (-3.7% September-over-August, -5.5% Octocber-over-September), moving from the top rank on the Media Industry Social Leaderboard to number 4.  Unclear what has caused this decline although one hypothesis could be an increase in either SEO or paid audience acquisition.  If you have any insight here, shoot me a note.

Closer to home, People, MTV, and Wetpaint maintained their relative rankings and have moved to the top 3 spots.  At Wetpaint, we credit our climb up the ladder to our relentless A/B testing that has allowed us to understand what our audience desires in a deep way, and inform our editors with this insight.  The result is that we are creating, packaging, and distributing the right content, at the right time and our audience has voted with clicks, likes, and shares.

by Ben Elowitz

Laura Lang has a proven and powerful track record as a media change agent.

As CEO of Digitas, she helped uber-marketers like Procter & Gamble and American Express move smartly into digital advertising. And she is conversant and fluid with new publishing platforms – and knows how to make them profitable.

Now, she’s been asked to lead Time Inc., and its 21 venerable titles, which include Time, People and Sports Illustrated.

Time Inc. has absolutely amazing brands with outstanding reputation, heritage, editorial staff, and customer bases; but, at the same time, the business model of magazines is structurally breaking.

What an interesting – and tantalizing – choice.

And you can’t be a media leader today, unless you’re willing to innovate on the business model itself.

Which is why Laura seems so promising.

I love the idea that at Time Inc. she’ll be able to innovate in core product, just like she did at Digitas. I also love the notion that she’ll aggressively develop new products for advertisers.

What will be new to her is the actual business of publishing – a business where Time Inc. stands stronger than almost any other player.

The central question for me is whether Time Inc. is ready for the change that a leader like Laura will want to (and need to) bring.

Indeed, Time Inc. has fundamental open questions to address when it comes to its own relevance in the digital world.

While the powerful brand of Time magazine has set the American agenda for decades, Time.com has wandered.  In the past, Fortune magazine always spoke to the most important business issues and people; but today, its online brand is less clear, with basic confusion even in its home-page address (http://money.cnn.com/magazines/fortune/). This simply muddles Fortune, Money, and CNN.

To be as successful in the next century as it’s been in the past, Time Inc. will have to adapt more fully to the digital world. That means developing new business models, as well as new attitudes toward consumers, advertisers, and the product itself. It will also require a healthy reinvigoration of key brands, an area where I think Laura may especially shine.

All of this will take nuance, to bend things without breaking them.

I’ll end the year on an optimistic note, and say that I hope Laura can finesse major innovation for this major publisher. If she can, watch out world – because very interesting and far-reaching things will happen.

by Ben Elowitz

This week, we made some announcements about our achievements at Wetpaint, and it has prompted me to take a look back at 2011.  It’s easy to be proud of the 6.4 million unique visitor audience we have built at Wetpaint Entertainment monthly.  It is a significant accomplishment in just 15 months since we launched, and the Wetpaint team has worked passionately to get us here. But even a number like that is, well, just a number. The real value of what we did in 2011 lies in the all the learning we had about how to build, run and monetize a successful media property online.

And that learning makes me feel grateful – because as successful as we have been this year, it’s been against a context of upheaval in the industry.  Media is not easy.  Old formulas from print and broadcast are no longer working.  And even the just-minted generation of seemingly successful digital companies, from Demand Media to Zynga to Facebook itself, are having to constantly innovate to stay on top of the wave that they’re on as they hope to catch the next.

Clearly, the most important keys to financial success in media are building audience and monetizing that audience – and we’ve made significant progress on both here at Wetpaint.  Our greatest strength has been the data engine we’ve built to acquire, assimilate, and apply every possible insight about our audience.  We learned that smart and targeted analysis can improve everything we do; that lots of rapid experimentation is critical; and that social traffic is far more valuable than search.

We also learned more about the Kardashians and the people on the The Bachelor/Bachelorette than anyone in this world should.  Our editors did a bang-up job capturing the liveliness of the entertainment industry and they definitely deserve plenty of credit.

But while all our great content and social mojo would succeed in delighting audiences, it wouldn’t be enough to make a strong business without excellent monetization.  And so I’m equally excited to note that as we get ready for 2012, we’ve found that our formula of great content and social mojo is just as valuable to advertisers as it is to our audiences.  I’m pleased that we will be working with the team at Cambio Group via their joint venture between AOL, Jonas Group and MGX Lab.  Together, we will be  serving outstanding advertisers with some of the most innovative offerings around.

With this partnership in place, we are able to turn amazing traffic into amazing financial results. It will mean strength for our model and our company into 2012 and beyond.

But the implications are even broader for the industry, and that’s because we are setting a model that others can follow as well.  And that is what I’m most excited about:  What media needs most is a model that can be scaled and repeated – and our latest results make it clear we are on the right track to build it.

by Ben Elowitz

This article was published as a guest post at All Things D, and is republished here for DigitalQuarters readers.

Steve Jobs died without fully transforming television, but the day after he passed away, Apple unveiled Siri, its natural language interface. Though it’s currently only embedded in the new iPhone 4S, Siri could eventually change the face of the TV industry.

Notice I said “TV industry.”

But from my perspective, Siri’s greatest impact won’t ultimately be on users, or on device manufacturers (though they certainly risk losing market share to Apple). It will be on the TV industry’s content creators and packagers. Why? Because a voice-controlled television interface will fundamentally disrupt the six-decade-old legacy structure of networks, channels and programs. And that’s a legacy that — until now, at least — has been carried forward from analog to digital.Most observers and analysts believe that Siri’s voice commands could eliminate the need for those clunky TV remote controls. With the blurring and exponential proliferation of television and Web content, telling your TV what you’d like to watch, instead of scrolling through a nearly infinite number of program possibilities, makes a lot more sense.

There’s an important underlying precedent here.

If the Internet can be generalized to have one effect across every industry that moves online, that effect would be disaggregation. Choices go from finite to infinite. Navigation goes from sequential to random access. And audiences choose content by the item far more than by the collection. We’ve gone from the packaged and channelized to the unbound and itemized. Autonomous albums are fragmented into songs; series into clips; and magazines and newspapers into articles and individual photos.

As much as we may think that has already happened with video, it is nothing compared to the great leveling that will occur in the voice-controlled living room. Voice-controlled TV means direct navigation to individual episodes, programs and clips. And it will almost certainly lead to a discernible deconstruction of the network and channel structure — not to mention the decomposition of even the aggregated marketplaces like Netflix, Hulu and YouTube.

Here’s the simple reason: No one is going to sit on their couch and say, “Siri, show me NBC’s ‘Community.’” In a voice-activated world, monikers like “NBC” become useless. They don’t stand for anything meaningful to the consumer. They’re just remnants of a decrepit channel structure that’s unraveling. And, in the end, they’ll simply connote the fast-fading allure of mid-20th century mass appeal.

To be sure, the TV majors will lose much of their ability to realize network effects. Already, you’re hearing less about “lead in” and “lead out.” What you are hearing more about, however, is disconnected videos. A program on YouTube, for instance, will sit on a level voice-controlled playing field with an NBC show, and that field will soon become even more level, because Siri will eliminate the menus that structure the artificial hierarchies of content collections.

So how will we be able to get network effects back in video? Let’s look at four possible ways:

  • Branded Content — Players can build a strong brand that stands for something with their audiences. Break.com, Discovery and Oprah are all meaningful and build long-term customer loyalty. (“Siri, show me new TED Talks.”)
  • Curation — Brand the collection with a curation strategy so that the curator’s name and stamp of approval means something to the audience. (“Siri, show me Jason Hirschhorn’s latest movie suggestions.”)
  • Social — In the fully social world that we expect to see, focusing on the virality of content means you tap the human distribution network and social operating system. (“Siri, show me what videos my friends are watching.”)
  • Personal — We’ve already seen the extraordinary value of well-tuned personalized recommendations, with Netflix’s notable prize and other famed stories of the benefits of great recommendations. Increasingly, our own patterns of individual videos and the brands we affiliate with, along with recommendations from friends, will be combined into personalized recommendations we won’t even have to ask for. I have no doubt that Siri will be as good a “Genius” as iTunes is at recommending what else to watch. Ultimately, in the age of data, whoever knows the most about us will be able to give us the best experience.

Beyond disaggregation, personalization is ultimately the most powerful consumer value of digital media. My mother’s TV experience was to walk over to her TV set and turn a dial to select among three channels to satisfy her individuality. But in the next generation, no two people will receive the same recommendations from the millions of content choices available.

Before he died, Jobs now famously told Walter Isaacson, his biographer, that he had finally cracked the TV code. It’s unclear what Jobs meant, what this entailed or what he thought it would lead to in the years to come. So, barring further posthumous disclosure, Jobs’s own predictions of his ripple effects will be a media mystery for now.

One thing that’s clear, though, is that Jobs’s Siri will start the dismantling — or creative destruction — of the TV industry as we’ve known it for the last 60 years.

by Ben Elowitz

I’ve projected before that within the next couple of years, social can drive as much traffic as search to major media properties – especially those that are driven by real-time news.  But I hadn’t expected it to happen so soon!

Yesterday was a milestone here at Wetpaint:  social for the day drove over 45% of our audience visits; while search brought in about 30%.

Now consider this:  Layer on the ~150% higher lifetime value of our social audience (our social users stay longer, come back more frequently, and bring additional viral referrals), and social was responsible for over 60% of the value of our audience yesterday.

It may start as an outlier, but it’s going to get more common.  We are on track to be the #1 social publisher within a short time.  Want to know where you stand too?  Stay tuned for the updated media industry social leaderboard, which I’ll be posting in the next few days.

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