Gore may have been a prod, but the execution of innovation at Google is due to the focused passion Brin and Page bring to Google. Barry Diller, who had that unsettling session with Page and Brin in the early days of Google, when Page would not look up from his PDA to talk to him, now thinks what might be construed as rudeness was really focus. “They had their own method of communicating and processing,” Diller said. “They give much less quarter than other people do to common business courtesies. They’ve stayed true to this. It’s a spectacular strength. It means you never get defocused by the crowd.” At Google the focus is on the engineer is king culture Brin and Page had the precocity to impose.
True to its open-sourced, wisdom-of-the-crowd ideals, Google has created a networked management. It is bottom-up as well as top-down management, and it unleashes ideas and effort. “There is a pattern in companies,” Page explained, “even in technological companies, that the people who do the work-the engineers, the programmers, the foot soldiers, if you will-typically get rolled over by the management. Typically, the management isn’t very technical. I think that’s a very bad thing. If you’re a programmer or an engineer or computer scientist and you have someone tell you what to do who is really not very good at what you do, they tell you the wrong things. And you sort of end up building the wrong things; you end up kind of demoralized. You want to have a culture where the people who are doing the work, the scientists and the engineers, are empowered. And that they are managed by people who deeply understand what they are doing. That’s not typically the case.”
CHAPTER TWELVE. Is “Old” Media Drowning?
(2008)
On a sunny July afternoon in Sun Valley, three friends who had competed and cooperated for a quarter century-Robert Iger, the CEO of Disney; Les Moonves, the CEO of CBS; and Peter Chernin, the COO of News Corporation-gathered for sodas. They sat beside a tranquil pond, but their world was not serene. By the summer of 2008, the economy had started its swoon. The shrinking of the audience for their broadcast networks and TV stations had accelerated. Their stock prices were getting mauled. “At least we’ve had a good run,” Chernin said, half joking.
“Yeah,” Iger replied with a laugh, “but I feel like we’ve gotten to the orgy and all the women have left!”
“We sound like three old men sitting in Miami Beach with blankets over our legs!” Moonves cracked.
The network and station business was once much easier. “The era when I worked at ABC was fantastic,” recalled Michael Eisner, who was a program executive at the network before leaving to become CEO of Disney in the early eighties. “There were three networks, and all I had to worry about was ‘Did we have a good show?’ Even if we had a bad show, we did OK.”
What does it feel like to be a media executive navigating these swiftly churning waters? Before he became CEO of Sony, Sir Howard Stringer spent much of his life in traditional media, starting as a researcher for CBS News and becoming an award-winning news producer, president of CBS News, and president of CBS Broadcasting. Today, seated in the Sony dining room in New York, he said, “If you read every piece in every newspaper and magazine about new technology, you would walk into the East River! There are so many options out there, simultaneously, that it’s a dizzying experience. For every time you see an opportunity, you also see a threat. Every time you see a threat, you see an opportunity. Or if you see a threat, you’re afraid you’re missing an opportunity. That’s the one-two punch of the technological marathon we’re all in. You worry about missing a trend. You worry about not spotting a trend. You worry about a trend passing you by. You worry about a trend taking you into a cul-de-sac. It means that any CEO or senior executives of a company have to induce themselves to have a calm they don’t feel, in order to be rational in the face of this onslaught.”
Sony, like others, had reason to fret about missed trends. Before Stringer was CEO, the company that in 1979 had introduced the Sony Walkman was being challenged in 2001 by a stylish upstart, Apple’s iPod. By 2003 Apple’s iTunes offered singles that could be downloaded simply and for just ninety-nine cents, hampering the sale of albums by record companies like Sony. Although the Walkman was still the dominant portable music player in 2003, the iPod was gaining. I asked then CEO Nobuyuki Idei, are you worried about the iPod?
No, he replied, dismissing the question like a man brushing lint off his jacket. Sony and Dell know manufacturing. Apple does not. Within a couple of years, Apple will be out of the music business.
Probably no other traditional media business has been so disrupted by the digital wave as has music. And none was slower to respond to the challenge. Music companies like Sony gave an incentive to digital pirates by insisting that their customers buy entire albums rather than allowing them to purchase individual songs. The music companies failed to understand that technology awarded power to consumers to mix and choose their own music, failed to strike an accommodation with Napster and other music download sites, failed to create a digital jukebox like iTunes, failed to enter the lucrative concert business for their artists, failed to start a TV platform like MTV Edgar M. Bronfman, Jr., the CEO of the Warner Music Group, said, “It’s fair to say we didn’t get it”-meaning the digital revolution. “But I’m not sure what we could have done.” He added, “The record business is in trouble. The music business is not.” He believes the music companies were murdered by technological forces beyond their control. In fact, they committed suicide by neglect.
A glance at the record company business suggests the depth of its travails. Into the nineties, best selling albums sold at least 15 million copies, said Jeffrey Cole of the Annenberg School ’s Center for the Digital Future at the University of Southern California. In 2007, the top-selling album registered only 3.7 million sales. People are listening to more music, but paying much less. Some performers, such as Madonna, bypass traditional music companies altogether. Following the predigital model of the Grateful Dead, who built their audience by encouraging fans to tape their performances, acts like Coldplay made single songs available for free over the Internet. (When released, Coldplay’s album Death and All His Friends shot to number one.) In 2007, worldwide digital music sales rose to 15 percent of all music sold, up from less than 1 percent in 2003. Yet this rise could not compensate for the decline of more expensive compact disc sales, which fell 10 percent that year. Music companies were in the business of selling albums, and since their sales peak in 2000 of nearly 800 million, album sales in 2007 plunged to just over 500 million. This helps explain why music company revenues have dropped significantly from $14.2 billion in 2000 and will dive to $9 billion by 2012, according to Forrester Research.
In one sense, newspapers share this dilemma. Most newspapers enjoy healthier profit margins than music companies, but these are shrinking. Investors punish their stocks because, compared with a Google or Apple, newspapers have dismal growth prospects. The speed with which the world of newspapering has changed was captured in interviews conducted by the Los Angeles Times Magazine with six former editors of the Los Angeles Times newspaper. William F. Thomas, the editor from 1971 to 1989, suggested that the so-called good old days were akin to what was commonplace at Google: “I never experienced any real restraints on anything we wanted to do for budget reasons… The only limit I recall was when they started enforcing a no-first-class rule.” By the time John S. Carroll took the helm in 2000, the newspaper’s corporate owners were seen as predators, people who understood math but not journalism, and Carroll, like his two successors, chose to quit in 2005 rather than obey directives from Chicago. With the benefit of hindsight, this fine editor blamed not just his former bosses, but himself as well. Carroll told the magazine that, like most editors, he was preoccupied with the fireman’s part of his job, answering news alarms, covering and editing daily stories. “If I had it to do over again, I might have taken some time off and tried to figure out where the Web was going and tried to do something about it.” This mistake-not to treat the arrival of the Internet with urgency, not to pour resources into a vibrant online newspaper-was one that most of his peers made as well.