Hi everyone. So, I'm going to take us back to 2007. I'd just spent about six months working on album that I'd poured my heart and my soul into, and it was getting about three plays per day on Myspace at the time, and I was getting more and more depressed when I started noticing these other people who were playing guitar and singing and putting videos on this new site called YouTube, and they were getting 300,000 views. So I decided I'm going to start making some Youtube videos. And one day they featured a video of my band on the homepage, which was amazing -- we got a bunch of new fans. We also got a bunch of people who, I guess, just didn't really like the music or something --
Zdravo svima. Dakle, vratiću nas u 2007. Tad sam baš proveo šest meseci radeći na albumu u koji sam pretočio svoje srce i dušu i tada je imao oko tri puštanja dnevno na Majspejsu, i postajao sam sve više depresivan primetivši druge ljude koji su svirali gitaru i pevali i postavljali snimke na novi sajt po imenu Jutjub, a imali su 300.000 pregleda. Pa sam odlučio da ću da počnem da pravim Jutjub snimke. I jednog dana sam postavio snimak mog benda na glavnu stranu, bilo je divno - dobili smo gomilu novih fanova. Dobili smo i gomilu ljudi, koji, valjda, prosto nisu voleli našu muziku, i tako to -
(Laughter)
(Smeh)
It's OK because people started coming to our shows, and we started touring, and we came out with a record. And when I checked our bank account balance after our first monthly iTunes payout, we had 22,000 bucks in it, which was amazing because at the time I was living at my dad's house, trying to make a living as a musician by uploading videos to the internet which literally zero people respected in 2009 -- even the people who were uploading videos to the internet.
U redu je jer su ljudi počeli da nam dolaze na svirke i krenuli smo na turneju, i iz toga je proizašla ploča. A kada sam proverio naš račun u banci, nakon prve mesečne isplate sa Ajtjunsa, imali smo 22.000 dolara, to je bilo sjajno jer sam tada živeo u očevoj kući, pokušavajući da zarađujem kao muzičar postavljajući snimke na internet što je 2009. poštovalo nula ljudi - čak ni ljudi koji su postavljali snimke na internet.
And so for the next four years, I uploaded more and more videos to the Internet, and they got better and better, and we made enough money through brand deals and commercials and iTunes sales to buy a house. And we built a recording studio. But there was one big problem: making money as a creative person in 2013 was super weird. First of all, the business models were changing all the time. So our 58,000 dollars of annual iTunes download income was about to be replaced by about 6,000 dollars of streaming income. Steams paid less than downloads. And then as more and more creators started popping up online, there was just more competition for these five-figure brand deals that had kept the band afloat for years. And to top it all off, our videos themselves -- the creative stuff that we made that our fans loved and appreciated -- that were actually contributing value to the world, those videos were generating almost zero dollars of income for us. This is an actual snapshot of my YouTube dashboard from a 28-day period that shows one million views and 166 dollars of ad earnings for those views.
Pa sam u naredne četiri godine postavljao sve više snimaka na internet, i postali su sve bolji, i zaradili smo dovoljno novca kroz ugovore s bendom i reklame i prodaje na Ajtjunsu da kupimo kuću. Sagradili smo i studio. Međutim, imali smo veliki problem: zarađivanje novca kao kreativac u 2013. je bilo izuzetno čudno. Pre svega, obrasci poslovanja su se sve vreme menjali. Pa je naših 58.000 dolara godišnjeg prihoda sa Ajtjunsa trebalo da zameni oko 6000 dolara prihoda od strimovanja. Strimovi su naplaćivani manje od skidanja. A onda se sve više i više stvaralaca počelo da pojavljuje onlajn, prosto je bila veća konkurencija za petocifrene ugovore za bend koji su godinama održavali bend solventnim. A povrh svega, sami naši spotovi - kreativni materijal koji smo pravili, koji su naši fanovi voleli i cenili - koji su zapravo doprinosili nešto vredno svetu, ti spotovi su nam donosili skoro nula dolara u prihodu. Ovo je stvarni prikaz moje Jutjub stranice u periodu od 28 dana, koja prikazuje milion pregleda i 166 dolara zarade od reklama za te preglede.
The whole machine in 2013 that took art online and outputted money was totally nonfunctional. It doesn't matter if you're a newspaper, or an institution, or an independent creator. A monthly web comic with 20,000 monthly readers -- 20,000 monthly readers -- gets paid a couple hundred bucks in ad revenue. This is 20,000 people. Like, in what world is this not enough? I don't understand. What systems have we built where this is insufficient for a person to make a living?
Čitav mehanizam iz 2013. koji je preneo umetnost na internet i proizvodio novac je bio potpuno nefunkcionalan. Nebitno je da li ste novina, institucija ili nezavisan stvaralac. Mesečni veb strip sa 20.000 čitalaca mesečno - 20.000 čitalaca mesečno - naplaćuje nekoliko stotina dolara prihoda od reklama. Radi se o 20.000 ljudi. Mislim, u kom svetu to nije dovoljno? Ne razumem. Kakav smo to sistem napravili gde ovo nije dovoljno da osoba zaradi za život?
So, I actually have a theory about this. I think it's been a weird 100 years.
Dakle, imam teoriju o ovome. Mislim da je ovo bilo čudnih 100 godina.
(Laughter)
(Smeh)
(Applause)
(Aplauz)
About 100 years ago, humans figured out how to record sound onto a wax cylinder. That was the beginning of the phonograph. Right around the same time, we figured out how to record light onto a piece of photographic paper, celluloid -- the beginning of film and television. For the first time, you could store art on a thing, which was amazing. Art used to be completely ephemeral, so if you missed the symphony, you just didn't get to hear the orchestra. But now, for the first time, you could store the orchestra's performance on a physical object, and like, listen to it later, which was amazing. It was so amazing in fact, that for the next 100 years, between 1900 and 2000, humans built just billions and billions of dollars of infrastructure to essentially help artists do two things. First, put their art on a thing, and second, get that thing around the world to the people who wanted the art. So, so much industry is devoted to these two problems. Oh my gosh, there are trucking companies, and brick-and-mortar and marketing firms, and CD jewel case manufacturers, all devoted to these two problems.
Pre oko 100 godina, ljudi su shvatili kako da zabeleže zvuk na voštani cilindar. To je bio početak fonografa. Baš u to vreme, shvatili smo kako da zabeležimo svetlost na parče fotografskog papira, celuloid - početak filma i televizije. Prvi put ste mogli da sačuvate umetnost na nečemu, to je bilo sjajno. Umetnost je nekad bila skroz prolazna, pa ako ste propustili simfoniju, prosto niste stigli da čujete orkestar. Međutim, sad, prvi put, mogli ste da sačuvate orkestarsku izvedbu na predmetu i da to poslušate kasnije, što je bilo sjajno. Bilo je toliko sjajno, pak, da su u narednih 100 godina, između 1900 i 2000, ljudi napravili milijarde i milijarde dolara vrednu infrastrukturu kako bi pomogli umetnicima kod ove dve stvari. Prvo da stave svoju umetnost na nešto, a potom da to stigne širom sveta, do ljudi koji žele tu umetnost. Te je veliki deo industrije posvećen ovim dvama problemima. Gospode, imamo kamionske firme, tradicionalne firme, marketinške firme i proizvođače kutija za CD, sve posvećeno ovim dvama problemima.
And then we all know what happened. 10 years ago, the internet matures and we get Spotify and Facebook and YouTube and iTunes and Google search, and a hundred years of infrastructure and supply chains and distribution systems and monetization schemes are completely bypassed -- in a decade. After 100 years of designing these things, it's no wonder that it's just totally broken for creative people right now. It's no wonder that the monetization part of the chain doesn't work given this new context.
A znamo šta se desilo posle. Pre deset godina, internet je sazreo i dobili smo Spotifaj, Fejsbuk, Jutjub, Ajtjuns i Gugl pretragu, i sto godina infrastrukture i lanaca nabavke i sistema distribucije i monetarnih shema su potpuno prevaziđeni - u jednoj deceniji. Nakon sto godina dizajniranja ovoga, ne čudi što je trenutno prosto skroz pokvareno za kreativce. Ne čudi što monetarni deo lanca ne funkcioniše, imajući u vidu novi kontekst.
But what gets me super excited to be a creator right now, to be alive today and be a creative person right now, is realizing that we're only 10 years into figuring out this new machine -- to figuring out the next 100 years of infrastructure for our creators. And you can tell we're only 10 years in. There's a lot of trial and error, some really good ideas forming, a lot of experimentation. We're figuring out what works and what doesn't. Like Twitch streamers. Who's heard of Twitch? Twitch streamers are making three to five thousand bucks a month streaming gaming content. The big ones are making over 100,000 dollars a year. There's a site called YouNow, it's an app. It allows musicians and vloggers to get paid in digital goods from fans.
Ali nešto zbog čega sam trenutno krajnje uzbuđen što sam stvaralac, što sam živ danas i što sam danas kreativac je saznanje da smo tek 10 godina u procesu razumevanja novog mehanizma - razumevanja narednih 100 godina infrastrukture za naše stvaraoce. I jasno je da smo svega 10 godina tu. Mnogo pokušaja i grešaka, nekih veoma dobrih ideja koje se oblikuju, mnogo eksperimentisanja. Razumevamo šta deluje, a šta ne. Poput Tvičovih strimera. Ko je čuo za Tvič? Tvičovi strimeri zarađuju tri do pet hiljada dolara mesečno, strimujući gejming sadržaj. Veliki zarađuju preko 100.000 godišnje. Postoji sajt po imenu YouNow, to je aplikacija. Omogućuje muzičarima i vlogerima da od fanova zarađuju u digitalnim dobrima.
So, I'm also working on the problem. Four years ago I started a company called Patreon with a friend of mine. We're 80 people now working on this problem. It's basically a membership platform that makes it really easy for creators to get paid -- every month from their fans to earn a living. For a creator, it's like having a salary for being a creative person. And this is one of our creators. They're called "Kinda Funny." They have about 220,000 subscribers on YouTube. And when they upload a video, it gets somewhere around 15,000 views to 100,000 views. I want you to check yourselves right now. I think when we hear numbers like that, when we hear "15,000 views," and we see content like this, we just snap categorize it as being not as legitimate as a morning show that you'd hear on the radio or a talk show that you'd see on NBC or something But when "Kinda Funny" launched on Patreon, within a few weeks, they were making 31,000 dollars per month for this show. It took off so fast that they decided to expand their programming and add new shows, and now they launched a second Patreon page -- they're making an additional 21,000 dollars per month. And they're scaling what's essentially becoming a media company, financing the whole thing through membership.
Dakle, i ja radim na problemu. Pre četiri godine sam osnovao firmu Patreon sa mojim prijateljem. Trenutno nas ima 80 koji radimo na ovom problemu. To je u suštini platforma sa članarinom koja omogućuje stvaraocima da zaista lako budu plaćeni - svakog meseca od fanova kako bi zaradili za život. Za stvaraoca je to poput plate za to što je kreativac. Ovo je jedan od naših stvaralaca. Nazivaju se "Kinda Funny". Imaju oko 220.000 pretplatnika na Jutjubu. A kada postave snimak, dobije negde oko 15.000 do 100.000 pregleda. Želim da se odmah preslušate. Mislim da kad čujemo slične cifre, kada čujemo "15.000 pregleda", i vidimo sličan sadržaj, odmah ga ishitreno kategorišemo kao nešto što nije legitimno koliko jutarnji program koji slušate na radiju ili tok šou koji gledate na TV-u i slično. No kada je "Kinda Funny" startovao na Patreonu, za nekoliko nedelja su zarađivali 31.000 dolara mesečno za ovu emisiju. Toliko je brzo zaživeo da su odlučili da prošire program i dodaju nove emisije, i sada su pokrenuli drugu Patreon stranicu - zarađuju dodatnih 21.000 dolara mesečno. I pretvaraju se u nešto što u suštini postaje medijska firma, finansirajući sve to preko članarina.
OK, here's another example. This is Derek Bodner, a sports journalist who used to write for Philadelphia Magazine until a few months ago when the magazine cut out all sports coverage. Now he writes articles and publishes them on his own website -- he's still covering sports, but for himself. And he's making 4,800 bucks a month from 1,700 patrons, financing it through membership.
U redu, evo još jednog primera. Ovo je Derek Bodner, sportski novinar koji je nekad pisao za časopis "Filadelfija" do pre nekoliko meseci kada je časopis izbacio sportsko izveštavanje. Trenutno on piše članke i objavljuje ih na sopstvenom vebsajtu - i dalje izveštava o sportu, ali za sebe. Zarađuje 4.800 dolara mesečno od 1.700 pokrovitelja, sve to naplaćuje kroz članarine.
This is Crash Course -- free educational content for the world. This show is actually on the PBS digital network -- 29,000 dollars per month. This is a duo sailing around the world, getting paid every month for documenting their travels from 1,400 patrons. This is a podcast, "Chapo Trap House", making -- actually, since I screenshotted this, they're making an additional 2,000 dollars per month, so they're now making 56,000 dollars per month for their podcast.
Ovo je "Crash Course" - besplatan obrazovni sadržaj za svet. Ova emisija je zapravo na digitalnoj mreži PBS - 29.000 dolara mesečno. Ovaj dvojac plovi širom sveta, dokumentujući svoja putovanja, zarađuju svakog meseca od 1.400 pokrovitelja. Ovo je podkast: "Chapo Trap House", zarađuju - zapravo, otkad sam ovo slikao, zarađuju dodatnih 2.000 dolara mesečno, dakle, trenutno zarađuju 56.000 dolara za svoj podkast.
And Patreon's not the only one working on the problem. Even Google's starting to work on this. A couple years ago, they launched Fan Funding; more recently, they launched Super Chat as a way for creators to monetize live streaming. Newspapers are starting to experiment with membership. New York Times has a membership program; The Guardian has over 200,000 paying subscribers to its membership program. There's this bubbling soup of ideas and experiments and progress right now, and it's pointing in the direction of getting creators paid. And it's working. It's not, like, perfect yet, but it's really working.
A ne radi samo Patreon na problemu. Čak i Gugl počinje da radi na ovome. Pre nekoliko godina, pokrenuli su Fan Funding; nedavno su pokrenuli Super Chat kao vid naplaćivanja živih strimovanja za stvaraoce. Novine počinju da eksperimentišu sa članarinama. "Njujork Tajms" ima program članstva; "Gardijan" ima preko 200.000 pretplatnika u svom programu članstva. Imamo bujicu ideja, eksperimenata i napretka trenutno, a sve ide u smeru da stvaraoci budu plaćeni. I deluje. Još uvek nije savršeno, ali zaista deluje.
So, Patreon has over 50,000 creators on the platform making salaries -- getting paid every month for putting art online, for being a creative person. The next hundred years of infrastructure is on the way and it's going to be different this time because of this -- because of the direct connection between the person who makes the thing and the person who likes the thing.
Dakle, Patreon ima preko 50.000 stvaralaca na platformi koji zarađuju - svakog meseca zarađuju za to što postavljaju umetnost onlajn, za to što su kreativci. Sledećih 100 godina infrastrukture sledi i biće drugačije ovaj put zbog ovoga - zbog direktne veze između osobe koja nešto stvara i osobe kojoj se to sviđa.
About seven or eight years ago, I went to a cocktail party. This is when the band had hit our first machine, so things were really cranking. We had just made about 400,000 dollars in one year through iTunes sales and brand deals and stuff like that. And this guy comes up to me and says, "Hey, Jack, what do you do?" I said, "I'm a musician." And he just sobered up immediately, and he stuck out his hand, put a hand on my shoulder, and in a real earnest, very nice voice he was like, "I hope you make it someday."
Pre oko sedam ili osam godina, bio sam na koktelu. To je bilo kad je bend imao svoj prvi uspeh, dakle, stvari su se pokretale. Upravo smo bili zaradili oko 400.000 dolara za godinu preko prodaja na Ajtjunsu i ugovora s bendom i slično. Prišao mi je lik i upitao: "Hej, Džek, čime se baviš?" Rekao sam: "Ja sam muzičar." A on se istog trena snuždio, ispružio ruku, stavio je na moje rame, i iskrenim, blagim glasom rekao: "Nadam se da ćeš uspeti jednog dana."
(Laughter)
(Smeh)
And ... I have so many moments like that logged in my memory. I just cringe thinking of that. It's so embarrassing to just not feel valued as a creative person. But as a species, we are leaving that cocktail party behind. We're leaving that culture, we're out of there. We're going to get so good at paying creators, within 10 years, kids graduating high school and college are going to think of being a creator as just being an option -- I could be a doctor, I could be a lawyer, I could be a podcaster, I could have a web comic. It's just going to be something you can do. We're figuring it out. It's going to be a viable and sustainable and respected profession. Creators are going to come out the other end of this weird 100 years, this century-long journey, with an awesome new machine. And they're going to be paid, and they're going to be valued. Thanks, everybody.
I... Imam toliko sličnih trenutaka nagomilanih u sećanju. Prosto se naježim kad pomislim na to. Tako je sramotno kada te prosto ne cene kao kreativca. Međutim, kao vrsta, napuštamo tu koktelsku zabavu. Napuštamo tu kulturu, izlazimo napolje. Toliko ćemo postati dobri u plaćanju stvaralaca, u deset godina, klinci koji završe srednju školu i fakultet će pomišljati da je umetnost prosto opcija - mogao bih da budem doktor, advokat, mogao bih da pudem podkaster, da imam veb strip. Prosto će to da bude nešto isplativo. Radimo na tome. Biće to izvodljiva, održiva i cenjena profesija. Stvaraoci će da izađu s drugog kraja ovih čudnih 100 godina, ovog putovanja dugog jedan vek, sa sjajnim novim mehanizmom. I biće plaćeni, i biće cenjeni. Hvala vam svima.
(Applause)
(Aplauz)
I think it went pretty well. I want artists who saw that to not give up -- to know that we're getting there. It's not there yet, but in a couple years, there will be so many systems and tools for them to just make a living online, and if they've got a podcast that's starting to take off, but they're not able to make money on it yet, that's happening and they're going to be paid. It's happening.
Mislim da je prilično dobro prošlo. Želim da umetnici, koji su to videli, da ne odustanu - da znaju da ćemo to postići. Nismo još uvek, ali za nekoliko godina će da postoji toliko sistema i oruđa za njih da prosto zarađuju na internetu, a ako imaju podkast koji počinje da zaživljava, ali još uvek nisu u stanju da na tome zarađuju, to se ostvaruje i biće plaćeni. Ostvaruje se.