The changing economic relationship of #work

Whether or not we are comfortable with the notion, the work we do can come to define us. In some societies, family names are derived from our forebears’ occupations or professions (Butcher, Baker, Smith, Cartwright, etc.).  The rapid shift to the knowledge economy is challenging our traditional economic relationship with work, and what it means to be an employer or employee. For example, the idea of a “job for life” within the same industry, let alone the same company, is no longer the norm.

Workers leave Waterhouse Mill, Bollington, Cheshire, UK (1959)

Workers leave Waterhouse Mill, Bollington, Cheshire, UK (1959)

“Welcome to the working week”

This past week I have been listening to the latest thinking on the nature of “work”, from the perspective of technology and its impact on task-based activity (courtesy of Donald Farmer from Qlik), and from the perspective of organizational culture and its importance in motivating knowledge workers (courtesy of Didier Elzinga of Culture Amp). If you are not familiar with either of these thought leaders, than I thoroughly recommend them to anyone interested in organisational behaviour, career development, business transformation and lifelong learning.

Technology and changing demographics require each of us to reframe our ideas about work as a homogenous lifelong activity, because the economic bargain between employer and employee is no longer as simple as a 40 hour working week and a regular paycheck.

Reframing “employment” #1:

By 2020, average job tenure will be 3 years, and around one-third of the workforce will be employed on a casual basis (part-time, temporary, contractor, freelance etc.). The proliferation of services such as Freelancer, O-desk/Elance, Sidekicker, 99designs, Envato and Fiverr are evidence of this shift from employee to supplier.

“The Dignity of Labour, Pts. 1-4”

Around 200 years ago, at the height of the Industrial Revolution in England, the typical worker was employed in a factory or mill, lived in housing owned by the employer, and was paid some or all of his wages in the form of vouchers that could only be spent in shops also owned by the employer. A hundred years later, my grandparent’s generation were still exposed to the practices of indentured labour (“master and servant”) or the idea of “going into service” (as domestic workers). My father’s generation is certainly the last in my family to have had a 30-year salaried career within the same organisation.

So, in just a few generations we have transitioned from the idea that employment provides for all our needs, to the increasingly common perception that every worker is in fact a micro-business, supplying their labour to multiple employers or clients via fee-based services. (The potential irony here is that in a world of freelancers and contractors, the time-based or task-linked approach to employment pricing starts to resemble Marx’s idea of the labour theory of value…..).

“Cottage Industry”

It’s also interesting to note that before workers were employed in factories, and as agrarian labourers transitioned from toiling in the fields to working in manufacturing production, they were hired on piece-rates, working from home in the form of (literally) cottage industries. Of course, this was not exactly self-employment, as their tools (looms and lathes) were probably provided by their “client” who also set the prices (for raw materials and finished goods), had exclusive rights over the finished goods, and determined the number of units required. But, within the constraints of meeting target numbers and societal norms such as Sunday observance and customary holidays, these labourers were “free” to work for as many hours as they wanted, and at times that suited them. So, like many contemporary issues we still seem to be struggling with, flexible working arrangements are nothing new….

“Work is a four-letter-word”

Aside from connecting with your purpose, understanding your personal value proposition and knowing what you are “worth” in the market, one of the biggest challenges I see for employees/workers is the paradox between shorter careers (witness the increasing unemployment rates among older workers) and longer working lives.

Thanks to medical advances, we are living longer, but there is a mismatch between workforce participation rates and increased welfare and social security costs, leading to continuous policy tinkering on pensions, tax and superannuation.

As individuals, we need to build up sufficient financial assets to sustain us both post-retirement, and during erratic periods of personal income. As “free agents”, we have to learn to live with:

  • increasing job insecurity (companies continuously de-layering and restructuring)
  • significantly different career paths (compared to personal aspiration/expectation)
  • rapidly changing working environments (hot-desking, co-working spaces)
  • greater self-reliance (“bring your own device”) and
  • heightened resilience (“shape up or ship out”)

“Opportunity”

The good news is that the model of portfolio, portmanteau and protean careers means that new jobs and new forms of working are emerging all the time – and with personal resilience etc., come flexibility, adaptability, knowledge sharing, skills transfer and new opportunities for personal development, along with self-defined roles, self-directed learning, self-managed performance and self-determined accountability.

We are no longer defined just by what we do, but how/where/why/when we do it.

Reframing “employment” #2:

A friend recently asked me for some advice on how to transition from “employment” to “self-employment”. She has regular part-time work with one organisation (which she views as employment), but wants to find more of her “own work” with other clients. She does not want to give up the part-time gig just yet, but feels that it is preventing her from growing her own business. So I suggested that she should see herself as being self-employed already, and that the part-time work is her first client, allowing her to build a portfolio of new business.  

“Earn enough for us”

What does this brave new world of work mean for employers – in particular, what is the new economic bargain organisations need to have with their workers?

If companies are no longer willing/able to offer long-term, permanent employment opportunities, how do they manage their labour requirements, attract and retain the best talent (when they need it), and engage highly motivated and skilled people?

First and foremost, the idea of workplace flexibility has to be truly reciprocal – but obviously aligned and clearly articulated – to be of any real benefit to both parties.

Second, if employers are increasingly reliant on freelance resources, this does not obviate their obligations to invest in their workforce – whether that includes benefits, training or rewards and recognition – the same as they would have in their employees.

Third, companies will need to do an even better job of attracting and retaining the skills and knowledge they require – and be willing to offer different kinds of incentives (e.g., opportunities to work on engaging projects and to collaborate with interesting people) beyond basic pay and conditions.

Fourth, employers may have to adjust to the idea of “syndicating” their talent resources (“it’s the shared economy, stupid”) not just within their own workplaces, but across their client organisations, suppliers, service providers and other collaborators – sometimes, even their competitors. Employers can no longer expect to have a total monopoly on their workforce talents, unless they make it really interesting, financially or otherwise…

Fifth, if companies continue to espouse the message that “our people are our best asset” then they need to update their asset management model to demonstrate they mean what they say. For example, more needs to be done in helping employees to retrain and up-skill (for jobs and roles that haven’t yet been thought of), even if that may mean employees are more likely to move on. The amount of goodwill that this will create in the wider community cannot be underestimated.

Reframing “employment” #3:

Employers and HR managers are re-assessing how they evaluate employee contribution. It’s not simply a matter of how “hard” you work (e.g., the hours you put in, or the sales you make). Companies want to know what else you can do for them, how you collaborate, do you know how to ask for help, and are you willing to bring what you know to the role?  

Finally, rather like their employees, employers are increasingly expected to connect with their purpose and to align their values with their objectives. New entrants to the workplace are better informed about the organisations they work for and want to work for, because free agents know they have a choice.

Next week: How to work with Boards

Will streaming kill the music industry?

The resurgence in vinyl sales is certainly not enough to save the music business. But will streaming finally cook the goose that once laid Gold Discs?

statistic_id273308_music-album-sales-in-the-us-2007-2014

US album sales (in all formats) are in decline. (Source:  Statista)

What can we learn from the music industry based on the apparent rebound of vinyl sales in recent years? Is streaming doing enough to halt the decline in total music revenue? Will CD’s soon disappear altogether? What future for LPs in a world of “Album Equivalent Sales”, “Track Equivalent Albums” and “Streaming Equivalent Albums”?

Are there parallels here with other content, publishing or entertainment sectors?

Back to Black

Last month the 8th annual Record Store Day was launched with a fanfare of upbeat data for vinyl sales. It was a good news story in an otherwise depressing saga of declining album sales, stagnating revenues, and mixed messages about the impact of digital downloads and streaming services on the music industry.

Coming off a very low base (like, near-extinction levels), the extraordinary sales growth of vinyl (especially in Australia) can be attributed to a combination of factors, although it is difficult to see how any single trend is responsible for this growth:

  • The growing popularity of Record Store Day itself (although it’s not without its problems – see below)
  • Baby boomers buying their record collections all over again
  • Hipster interest in analogue technology
  • Record labels mining their back catalogues
  • Niche market interest among audiophiles, collectors and the cool kids
  • New approaches to packaging vinyl with downloads and other bonus content
  • DJ culture
  • Secondary markets via E-bay and Discogs
  • Retailing switching from megastores to specialist shops

Infographic: Vinyl Comes Back From Near-Extinction (Source: Statista)

Where Is The Money Coming From?

Latest industry data suggests that digital sales (downloads and streaming) are now on a par with physical sales (CD, vinyl and the rest). Overall revenue has stabilised, having fallen from a peak in 1999. And streaming services are enjoying huge growth.

But the true picture is harder to establish:

First, while the IFPI provides global aggregated data, each local industry body (RIAA, BPI, ARIA etc.) likes to tell a different story from its national perspective. So it’s difficult to compare like with like. (For example, while Taylor Swift is supposed to be a worldwide phenomenon, she does not figure at all in the BPI data for 2014…..) One brave soul has tried to compile data for the past 20 years.

Second, because of the changes in distribution and consumption, music sales have to be counted in different ways:

  • Wholesale revenue vs retail sales
  • Physical sales vs digital sales
  • Per unit download sales vs streaming equivalents
  • Product revenues (e.g., album sales) vs licensing revenues (e.g., soundtracks)
  • Subscription fees (e.g., Spotify) vs per download revenue (e.g., iTunes)
  • Advertising income from video streaming vs royalties from broadcasting and soundtracks

Third, when more and more music is accessed via video platforms like YouTube, Vimeo, and Vevo, streaming platforms like Spotify, Pandora and Omny, or apps such as Bandcamp, Soundcloud, Mixcloud and Shazam, “sales” data starts to become less and less relevant. (And some people are still hanging on to the ailing MySpace platform….).

The bottom line is that despite the growth in streaming services, digital sales (in whatever format or media) are not yet enough to compensate for the continued decline in album sales in particular, and music overall:

The peak era of CD sales is over. (Source: Talking New Media)

Record Store Day Woes

The success of Record Store Day has divided opinion as to whether it is actually a “good thing” for the industry. It started as a campaign by independent record labels, distributors and retailers to revive the habit of buying records in-store. Labels produce limited edition and often highly collectible items for the occasion, and there are rules as to how, when and where these releases can be made available to the public.

At first, it really was driven by the independent labels, many of whom brought out interesting product that otherwise wasn’t available, such as label samplers, unreleased material and one-off artist collaborations.

Now, the major labels have jumped on board, meaning the market is flooded with unnecessary re-releases (do we really need Bruce Springsteen‘s ’70s and ’80s albums reissued on vinyl?) drawn from their extensive back catalogues (no need to pay for recording costs or new artwork!).

This means that smaller labels who release new vinyl records on a regular basis (not just once a year) get bumped from the production line, as the major labels exert their purchasing power over the pressing plants.

In addition, some Record Store Day releases are so badly distributed that stores are unlikely to take delivery of the items in time for the event. Or bad decisions lead to over-supply of certain items, which end up in the bargain bins (major labels again especially guilty of this offence).

Some store owners appear reluctant to participate because they feel embarrassed about the prices they may have to charge for many of the limited releases, which get bought by speculative customers, rather than collectors, fans and enthusiasts – a fact borne out by the immediate listings and inflated prices on E-Bay and Discogs….

As one store owner I talked to commented: “Every day should be record store day…”

What Else Does The Data Reveal?

For all the new young pop stars that the industry keeps churning out, there’s nothing like longevity and back catalogue to prop up the sales numbers. For example, Barbara Streisand was in the Top 10 for US album sales (and with new material!), and the likes of Pink Floyd, Led Zeppelin, Miles Davis, Bob Marley and Oasis feature in the top-selling vinyl records. Will Record Store Day 2025 herald the vinyl release of Justin Bieber’s pre-pubescent “demos”?

The decline of album sales has been particularly steep in the genres of Hip-Hop and R&B, while rock and pop continue to dominate the market. Some industry commentators have suggested that music sales are merely “in transition” as consumers switch from buying CD’s and downloading music to subscribing to streaming services. Meanwhile, in the US, country music’s #4 position by overall consumption reflects substantial album sales, as streaming is still a small component for the genre.

And those vinyl sales numbers? They’re simply a blip on the chart and largely driven by avid fans willing to shell out for deluxe editions….

The future is streaming?

Apple and others certainly believe (or hope) that streaming will save the music industry. Having demolished the market for CDs, iTunes is in a battle for its own survival among competing streaming services, where Apple itself is about to lead the charge having acquired the Beats platform.

But others are not so sure, predicting that streaming is already in decline, along with download sales:

First, the streaming platforms are yet to make a profit. Part of this is due to the cost of content that has to be licensed from the record labels and artists. Part is also due to the cost of acquiring customers, even if this can be done via social media, because the decline in music buying has been so abrupt, so the industry may be permanently damaged that streaming cannot bring back paying customers.

Second, even though streaming may overtake downloads by next year, there’s still nothing certain that teen pop fans (the target audience) will pay $7.99 – $9.99 per month to listen to music via so-called “freemium” services. Evidence suggests that consumers are happy with the free services, even if they have to put up with ads.

Third, while I agree that the freemium model is a fixture in the digital economy, the problem with Spotify et al is that they are not growing the market for music, but simply cannibalising it by displacing existing platforms (commercial radio, digital downloads, physical sales), while being tied to third-party distribution channels (the internet) and devices (smart phones, tablets and computers).

Anyway, subscription-based music streaming is nothing new, and was first launched over 100 years ago (and thanks to Mark Brend’s “The Sound of Tomorrow”, I learned that Mark Twain was the first subscriber).

If the “old” record companies are charging streaming services too much to license their content, then the streaming services should just find other sources – there’s plenty out there – but then, just like the major record labels, they are not really interested in music, only in shifting product and promoting “artists” (even if they are still figuring out how to make digital pay). The record labels don’t help themselves with their reliance on back catalogue, and their archaic territorial licensing practices either – forcing customers to circumvent geo-blocking barriers (legally or otherwise…).

Unfortunately, file sharing, illegal downloads and “free” streaming have meant customers don’t feel compelled to pay for digital music content. Personally, I prefer to curate my own listening, and not let someone else dictate what I hear, even if the service “knows” my preferences…

And the moral of the story is…?

More distribution platforms, more formats and more content may not be enough to save ailing industries, whether it’s music or television, newspapers or movies. These businesses will have to learn to live with lower margins and/or smaller market shares. The quality of a home-made movie uploaded onto YouTube may not be anywhere near that of a Hollywood blockbuster, but if cat videos are what grab punters’ attention (and by default, pull in the advertisers), the studios may have to find alternative strategies. And if music fans prefer to use free streaming services, the industry has to do a better job of producing content that consumers may be willing to pay for.

Ironically, in publishing, one sector that has been written off ever since the arrival of CD-ROM’s and the internet, teen consumers are still happily buying and reading print editions, alongside e-books. More so than other content industries, publishing has rapidly adapted to the new user-defined model: aspiring authors find it easier to self-publish (e.g., via Tablo and dedicated crowdfunding platforms such as Pubslush and Unbound); they can easily connect with an audience (especially in the realm of fan fiction); and a platform like Wattpad allows writers to test material before they commit to formal publication, and lets readers vote for what they’d like to read more of.

Next week: Making connections between founders and investors

 

 

 

It’s OK to say “I don’t know”

Thanks to the example set by our media-groomed politicians, it seems that nobody is willing to admit when they don’t know the answer to something. Rather than reveal a gap in their knowledge, they prefer to fudge their way to a non-committal, irrelevant or even incorrect response, by trotting out a favourite policy slogan or party catchphrase. Wouldn’t it be refreshing (and more honest) if they just said “I don’t know”, and then figured out how to find the appropriate answer?

Image by: Alexander Henning Drachmann

Image by: Alexander Henning Drachmann

In previous posts, I have commented on my frustrations at poor customer service, and in particular, the inadequate customer service training given to front-line staff. My latest run-in with poor customer service training came at my local supermarket. Owing to an innocent misunderstanding at the checkout, I asked the checkout assistant to reverse the payment on my credit card payment and debit it instead from the cash balance on my store loyalty card.

“No, that’s not possible”, I was told. “It’s already gone through on your credit card. You’ll have to use the loyalty card next time.”

“Surely,” I replied, “it’s a very simple process to reverse the transaction, and process it again?”

My request was further denied as being “impossible”. Eventually, the checkout assistant admitted that she “didn’t know” how to do it, so she would need to ask her supervisor to do it. “Fine,” I replied, and suggested she could have said this in the first place.

Problem was, the supervisor had no idea either. “I’ll have to re-process your transaction by scanning and reversing each item individually, and then put them through again.” By this time, I was wondering why I chose to shop here, and seriously considering why I would ever do so again.

“There must be an easier way,” I suggested. “I can’t be the first customer to have had this issue.” After further hesitation and prevarication, the supervisor said she would have to ask her manager to show her how to do it, as she herself didn’t know the process.

Turns out, it took one transaction code to reverse the credit card payment, and then reprocess it on the loyalty card – and without having to re-scan my shopping.

I don’t blame the checkout assistant, as clearly she hadn’t been trained how to do it (although she should have admitted as much in the first place). I’m a little surprised that the supervisor didn’t know either (how did she get promoted?). But the real blame must lie with the manager (or his manager) for not making sure the staff working under him knew the process, or knew who could perform the transaction.

To me, leadership (in politics, in business and in the service industry) is about making sure people know how to do their job, that they have the right tools and information to perform their duties, and that they know what is expected of them in the role. In cases where they may not know the answer, then it’s better to admit “I don’t know, but I’ll find the answer”, rather than fumbling the issue.

Next week: Updates on Apple Health, AusPost, eTaskr and Slow School of Business

Personal vs Public: Rethinking Privacy

An incident I recently witnessed in my neighbourhood has caused to me to rethink how we should be defining “privacy”. Data protection is one thing, but when our privacy can be compromised via the direct connection between the digital and analog worlds, all the cyber security in the world doesn’t protect us against unwanted nuisance, intrusion or even invasion of our personal space.

Pressefotografen mit KamerasScenario

As I was walking along the street, I saw another pedestrian stop outside a house, and from the pavement, use her smart phone to take a photograph through the open bedroom window. Regardless of who was inside, and irrespective of what they were doing (assuming nothing illegal was occurring), I would consider this to be an invasion of privacy.

For example, it would be very easy to share the picture via social media, along with date and location data. From there, it could be possible to search land registries and other public records to ascertain the identity of the owners and/or occupants. And with a little more effort, you might have enough information to stalk or even cyber-bully them.

Privacy Law

Photographing people on private property (e.g., in their home) from public property (e.g., on the street outside) is not an offence, although photographers must not cause a nuisance nor interfere with the occupants’ right of quiet enjoyment. Our current privacy laws largely exclude this breach of privacy (unless it relates to disclosure of personal data by a regulated entity). Even rules about the use of drones are driven by safety rather than privacy concerns.

Since the late 1990’s, and the advent of spam and internet hacking, there have been court decisions that update the law of trespass to include what could be defined as “digital trespass”, although some judges have since tried to limit such actions to instances where actual harm or damage has been inflicted on the plaintiff. (Interestingly, in Australia, an act of trespass does not have to be “intentional”, merely “negligent”.)

Apart from economic and financial loss that can arise from internet fraud and identity theft, invasion of privacy via public disclosure of personal data could lead to personal embarrassment, damage to reputation or even ostracism. (In legal terms emotional stress falls within “pain and suffering”).

Data Protection Law

The Australian Privacy Principles contained within the 1988 Privacy Act apply to government agencies, private companies with annual turnover of $3m or more, and any organisations trading in personal data, dealing with credit information or providing health services. There are specific provisions relating to the use and misuse of government-derived identifiers such as medical records and tax file numbers.

The main purpose of the privacy legislation is to protect “sensitive” information, and to prevent such data being used unlawfully to identify specific individuals. At a minimum, this means keeping personal data such as dates of birth, financial records or hospital files in a secure format.

Some Practical Definitions

The following are not legal definitions, but hopefully offer a practical framework to understand how we might categorise such data, and manage our obligations towards it:

“Confidential”

Secret information that must not be disclosed to anyone unless there is a legal obligation or permission to do so. (There are also specific issues and exceptions relating to “classified information”, public interest matters, whistleblower protection and Freedom of Information requests.)

“Private”

Information which is not for public or general consumption, although the data itself may not be “confidential”. May still be subject to legal protection or rights, such as the right of adopted children to discover the identity of their birth parents, or the right of someone not to be identified as a lottery winner.

“Personal”

Data that relates to, or can specifically identify a particular individual. An increasing issue for Big Data, because data that otherwise resides in separate locations can now be re-connected using triangulation techniques – scrape enough websites and drill down into enough databases, and you could probably find my shoe size.

“Public”

Anything that has been published, or easily discoverable through open search or public database retrieval (but, for example, does not include my past transactions on eBay unless I have chosen to disclose them to other users). My date of birth may be a matter of record, but unless you have authorised access to the relevant database or registry, you won’t be able to discover it and you certainly shouldn’t disclose it without my permission.

Copyright Law

One further dimension to the debate is copyright law – the ownership and related rights associated with any creative works, including photographs. All original content is copyright (except those works deemed to be in the “public domain”), and nearly all copyright vests with the person who created the work (unless they have legally assigned their copyright, or the material was created in the course of their employment).

In the scenario described above, the photographer would hold copyright in the picture they took. However, if the photograph included the image of an artwork or even a framed letter hanging on the wall, they could not reproduce the photograph without the permission of the person who owned the copyright in those original works. In some (limited) situations, a photograph of a building may be subject to the architect’s copyright in the design.

Curiosity is not enough justification to share

My personal view on all this is that unless there is a compelling reason to make something public, protecting our personal privacy takes precedent over the need to post, share or upload pictures of other people in their private residence, especially any images taken without the occupants’ knowledge or permission.

Just to clarify, I’m not referring to surveillance and monitoring by the security services and law enforcement agencies, for which there are understandable motives (and appropriate safeguards).

I’m saying that if we showed a little more respect for each others’ personal space and privacy (particularly within our homes, not just in cyberspace) then we might show a little more consideration to our neighbours and fellow citizens.

Next week: It’s OK to say “I don’t know”