The Unbearable Politeness of Tweeting

Another decent turnout for the Social Media Cafe (#smc_mcr) at the The Northern last night and a tip'o'the hat to those involved in organising the event.

It's encouraging that such events can actually be arranged so quickly and, in that sense, social media is working very nicely thank-you.

Since the first #smc_mcr, the group's wiki has a more lived-in feel with plenty of people putting their names forward to both speak and attend the events (although, oddly, not last night's speaker). The group has even spawned it's own sub-group on last.fm which takes the concept of the 'silent disco' one step further in that you don't even have to turn up. You can observe what other smc_mcr's are listening to from the comfort of your own garrett. Encouragingly, Boards of Canada are at the thick end of the group's dinky Long Tail after just one week, proving that those that have signed up on last.fm are a right-thinking bunch.

Anyway, at the inaugural #smc_mcr last month I tweeted, during the proceedings, that it might be a good idea to have a screen or a ticker showing what people were tweeting about during the presentations. Within minutes that idea took shape and well done to Julian at Littlestar for organising two big screens for last nights event. However, and I shall be the first to admit this, the idea was fundamentally flawed. In putting Twitter on the 'big screen' we inadvertently turned the back-channel into a highly visible front-channel. Frozen in the glare of the throbbing plasma, the great and good lost all control of their critical faculties and struggled to muster any decent comment/challenge re the 'speaker' of the evening.

I say 'speaker', because that generally creates an impression in the reader that someone with presentation skills is being described. Sadly that wasn't the case last night. Heather Corcoran from FACT, lovely lady though I'm sure she is, turned up with an online connection to some pleasant enough non-controversial arty bobbins obviously thinking, 'that'll do'. It wasn't enough really as she mumbled through link after link of fractionally-diverting, grant-attracting shenanigans. However, to her credit and with Paul Dirac-like aplomb, Heather inadvertantly created Anti-Twitter, as the assembled crowd, reserved and British to the last, refused to comment or acknowledge this faux-pas ridden 'elephant in the room' on the back-channel.

Itchy fingers hovered tentatively over iPhone touchscreens as the North West Twitterati tried to psyche themselves up to saying what they really felt. Those who did tweet, favoured safer topics such as 'are geek's sexy?' and 'will these links be on the wiki?', the rest stayed stock still formulating their next drinks order or putting off that nagging visit to the loo. One person at the back held on so long, they needed to be held over a grid.

Never mind. Lots learnt and we move on. It was a great opportunity, before and after, to put faces to avatars and I wasn't the only one enjoying some interesting and fun conversation. I'm looking forward to the next #smc_mcr as it continues to evolve and must remphasise the point made by those who organised the first two events, that we're all part of this thing and can play a part in shaping and organising these events. Any criticism in this post should be taken in this spirit as I'm as keen as everyone else for #smc_mcr to go from strength to strength and to guard against it becoming 'the scene that celebrates itself'. I'm happy to play a part.

Social Media Mavens: Get like Gladwell, Know Your Woofers from Your Tweeters!

Reading Malcolm Gladwell's book 'Blink' has got me thinking. I'm only on page 35, but already he's covered the topic of 'thin-slicing', i.e. by relying on first impressions, rather than always drilling down for more information, it's surprising how accurate our intuitions can be.

In this way, Gladwell cites how specialists can predict how robust a couple's marriage is by observing no more than 15 minutes of them in conversation on any topic. In another example, students correctly assess the effectiveness of a series of lecturers completely unknown to them on the basis of only two seconds of video. On their first glance, two experts on Greek statuary turn over 18 months of detailed and costly analysis validating the authenticity of a recently 'discovered' marble, exposing it as a fraud, purely based on instinct.

In short, it's probably not really worth reading pages 36-277 of Blink, as I already have that gut-feeling that it is a fascinating work. However, whilst I've been reading I've also been fidgeting with Twitter and listening to the new album from the School of Seven Bells on my iPhone. So what? Well, there is a connection...

I received a Tweet from WiReD (it's Listening Post blog) the other day which provided enough of a hook in it's 140-max characters to prompt me to click on the embedded TinyURL. This took me to an article about Musebin, a new service currently in private beta which cludges music reviews with Twitter by enabling contributors to submit reviews of albums in less than 140 characters. As I said, it's in beta, so it can still be a little flaky in its efforts to search for album-art within a quirky pop-up form, but by and large, submitting mini-reviews is a liberating little experience.

How is it possible to capture the essence of, say Genesis' 'The Lamb Lies Down On Broadway', Kraftwerk's 'Autobahn' or Christina Aguilera's latest 'Best Of' with only 140 characters to play with? Well, of course, the answer is 'easier than you might think'. The trick is to start with albums you know and love, I suppose. Once you've registered, Musebin allows multiple reviews of the same album and makes no judgements regarding whether or not the album was released in the last thirty years or the last thirty minutes

Other visitors are encouraged to give your reviews a Yay! or a Nay! based on whether they accurately capture the spirit of the recording. They can even leave a comment longer than the review itself if they wish!

The 140 character limit is no accident. Register your Twitter details and your reviews are automatically added to your Twitstream and those of your followers, who get to click on a TinyUrl to Musebin itself. (Whilst it's still in beta, this prompts followers to log-in or register which will unfortunately put a few people off for now). What's more, if as a Twitterer you decide to follow @musebin, your reviews, along with any others posted on the Musebin site will arrive as Tweets into your Twitstream, teasing and tempting you to check out something new, revisit something old, or log into Musebin to set the record(!) straight about Guns & Roses' Chinese Democracy by posting your own review.

Brilliant little synchronicities emerge. I'd waivered over the new School of Seven Bells album in the iTunes store for a few days, figuring that it was my kind of thing, but still hanging back from clicking that all-too-worn Buy Album button. Then a couple of hours later, this Tweet appeared and I needed no more encouragement:

Via @jasonvo: Ethereal. Quirky. Beautifully musical dissonance and head bobbing beats make this dream pop... http://musebin.com/schoolof33N

Working together, Twitter and Musebin provided me with a little nudge in 140 characters, but maybe I'd have got round to buying the SVIIB album sooner or later. I don't know. However, this tripped my train of thought onto one of the questions that I hate the most. 'Where on earth do you find out about these bands?' It drives me nuts! Why I'm not sure. Certainly, there is an childish element within me that prefers bands at that sweet spot just before they hit the charts or make it big. Somehow, after that happens they're not mine any more. I'm not like that with everyone you understand. I certainly don't just like things because they're obscure. Indeed, I'm happy that a lot of the stuff that is somewhat obscure stays that way. Similarly, bands that I 'collected' as my own personal 'property' in their formative years, might still get a visit from me today (my foray to Geneva to see REM [#remgeneva] a couple of months back being a good example). On the whole though, I haven't got a really good answer to the question 'Where on earth do you find out about these bands?' I just do.

I suppose it's a mix of purposeful and subliminal multi-channel overload, but I can't put my finger on it. All I do know, and this brings us back to Malcolm Gladwell in a couple of ways, is that I'm not not to bad at judging books (and CDs) from their covers. I suppose I have a diverse range of interests, but I don't often bring home or download a dud, even if it's something I haven't heard or even heard of before, from deep down in The Long Tail somewhere.

I'm so used to it, I can buy at a 'Blink' and get it right most of the time. What's more, the compelling stickiness of powerful Social Media tools such as Twitter, when combined with Musebin, combined with, I suppose, 'knowing what I like' could maybe transform me into a Maven and a Connector (two of the stars of Gladwell's The Tipping Point) at the same time. Hardly Paul Revere, and I certainly couldn't lay claim to assuming the role of the third of The Tipping Point's stars 'The Salesman', but maybe I'll think about that one tomorrow

By the way, Musebin's a Brooklyn based startup and currently looking for an Intern to help with the office admin along with some of the beta-testing and bug-fixing. How did they advertise for the role? On Twitter of course. Want to apply? Apply @musebin. Your resume/CV must be no more than 140 characters long. Good luck!