SUMMARY In New Orleans, music can easily be mistaken for a natural resource. But every note of every song is the product of human beings. Not only are these people often uncompensated for their work, they are often not noticed, appreciated or understood. To fulfill its Clinton Global Initiative commitment, Insight Labs convened the second annual UX for Good event in New Orleans on behalf of these musicians. Top user-experience designers from across the country convened in New Orleans, where they applied their unique brand of unrelenting empathy to the problems musicians face in their everyday lives. By the end of the event, the team of designers had devised three original ways to connect New Orleans musicians with the prosperity they deserve. FINDINGS Music in New Orleans is inaccurately perceived as a natural resource rather than the work of human beings. Walking around New Orleans, it’s easy to see how people think that way. Music seems to emanate from corner stores and cobblestones. Performances start and stop according to their own logic, not when someone buys a ticket or pushes “play” on an iPod. It’s not an uncommon experience to hear two or three different performances happening at the same time without anyone paying a cent. This free-flowing musical environment is a part of New Orleans’s identity - it’s “The Big Easy,” and any vendor selling Mardi Gras masks on Bourbon Street is happy to tell you about the perpetual party happening there. But at the end of the day, every single note that is heard in the streets or venues of New Orleans is the work of an artist, a human being. Not only are those people often uncompensated for their work, they are often not noticed, appreciated or understood. Their struggles as well as their triumphs are frequently swept under a rug woven from romantic notions about the freedom and the joy of musicians’ lives. As we reflect on the UX for Good experience, we believe that the greatest virtue the designers brought to New Orleans was an unrelenting empathy that considered musicians as very human users of a sometimes inhumane system, rather than as entertaining objects for their momentary amusement. It’s a focus we hope is maintained by others working in the city. Everyone in New Orleans already benefits from the city’s unequaled culture of music; now what the city needs is a strategy for its musicians. To maintain the culture of music, musicians need access to different resource sets from other participants in the economy and social safety net. Every year in New Orleans, thousands of people make an extraordinary decision. They decide to make their living playing music. No one would make such a decision in order to live a typical life or to earn an average American wage; according to Scott Aiges of the New Orleans Jazz & Heritage Foundation, the average musician in the area is married, has two or more children and makes less than $27,000 a year. But the problem is even more complex than that. Consider the series of actions that must occur in order for a person to appear for the first time on a Frenchmen Street stage. A young musician must invest thousands of hours of practice to become competent. Especially in New Orleans, that learning is often done outside of formal education and training networks; to musicians as well as others, it seems to compete with rather than complement normal opportunities like school, activities, athletics, and jobs. Thus, simply to become competent, young musicians cut themselves off from many of the paths most people take to develop careers or secure financial support. Then, as adults, musicians discover that support for their craft is far from certain. In many New Orleans venues, gigs are not reliably scheduled and musicians are primarily paid through tips. Simply making a living requires a huge amount of managerial time and attention that most musicians can’t afford while also working odd hours and honing their craft. Long-term planning is virtually impossible; when faced with a decision, musicians are likely to do what is best for their craft rather than what is best for their livelihood - a completely reasonable approach, given that they left the “straight” world long ago. “IF WE WANT MUSICIANS TO KEEP DOING THE THINGS THAT MUSICIANS DO, WE NEED TO DESIGN ECONOMIC AND SOCIAL SOLUTIONS THAT ARE COMPATIBLE WITH THE WAYS MUSICIANS MUST LIVE.”
Everyone knows that New Orleans is the home of some of the best music in the world. What if it were also home to the best system for supporting musicians? At the Clinton Global Initiative in 2011, Insight Labs Dean Jeff Leitner pledged to undertake a project to benefit the musicians of New Orleans. The pledge was fulfilled at the second annual UX for Good event, where the Labs convened some of the nation’s top user-experience designers to help out the people who make the Big Easy what it is. Designers from Twitter, Google, Manifest Digital, Obama for America, and a variety of other organizations fanned out through the city, interviewing musicians, DJs, record producers, club owners, and anyone else with a stake in the city’s music culture. Then they met to design an innovative set of solutions to the city’s challenges. Have a look at our final report to learn more about the designers' findings and solutions. Then visit http://www.ux4good.com to see a documentary short on UX for Good and learn about what we’ll be up to in 2013.
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1. SUMMARY as very human users of a sometimes inhumane system,
In New Orleans, music can easily be mistaken for a rather than as
entertaining objects for their momentary natural resource. But
every note of every song is the amusement. Its a focus we hope is
maintained by others product of human beings. Not only are these
people often working in the city. Everyone in New Orleans already
uncompensated for their work, they are often not noticed, benefits
from the citys unequaled culture of music; now appreciated or
understood. To fulfill its Clinton Global what the city needs is a
strategy for its musicians.IF WE WANT MUSICIANS Initiative
commitment, Insight Labs convened the second annual UX for Good
event in New Orleans on behalf of To maintain the culture of music,
musicians these musicians. Top user-experience designers from need
access to different resource sets from other across the country
convened in New Orleans, where they participants in the economy and
social safety net.TO KEEP DOING THE applied their unique brand of
unrelenting empathy to the Every year in New Orleans, thousands of
people make an problems musicians face in their everyday lives. By
the extraordinary decision. They decide to make their living end of
the event, the team of designers had devised three playing music.
No one would make such a decision in order original ways to connect
New Orleans musicians with the to live a typical life or to earn an
average American wage;THINGS THAT MUSICIANS prosperity they
deserve. according to Scott Aiges of the New Orleans Jazz &
Heritage Foundation, the average musician in the area is married,
has two or more children and makes less than $27,000 a year.DO, WE
NEED TO FINDINGS Music in New Orleans is inaccurately perceived as
But the problem is even more complex than that. Consider a natural
resource rather than the work of human the series of actions that
must occur in order for a person beings. Walking around New
Orleans, its easy to see to appear for the first time on a
Frenchmen Street stage.DESIGN ECONOMIC AND how people think that
way. Music seems to emanate from A young musician must invest
thousands of hours of corner stores and cobblestones. Performances
start and practice to become competent. Especially in New Orleans,
stop according to their own logic, not when someone buys that
learning is often done outside of formal education a ticket or
pushes play on an iPod. Its not an uncommon and training networks;
to musicians as well as others, itSOCIAL SOLUTIONS experience to
hear two or three different performances seems to compete with
rather than complement normal happening at the same time without
anyone paying a cent. opportunities like school, activities,
athletics, and jobs. Thus, simply to become competent, young
musicians cut This free-flowing musical environment is a part of
New themselves off from many of the paths most people take toTHAT
ARE COMPATIBLE Orleanss identity - its The Big Easy, and any vendor
develop careers or secure financial support. selling Mardi Gras
masks on Bourbon Street is happy to tell you about the perpetual
party happening there. But at the Then, as adults, musicians
discover that support for their end of the day, every single note
that is heard in the streets craft is far from certain. In many New
Orleans venues, gigsWITH THE WAYS or venues of New Orleans is the
work of an artist, a human are not reliably scheduled and musicians
are primarily being. Not only are those people often uncompensated
paid through tips. Simply making a living requires a for their
work, they are often not noticed, appreciated or huge amount of
managerial time and attention that mostMUSICIANS MUST LIVE.
understood. Their struggles as well as their triumphs are musicians
cant afford while also working odd hours frequently swept under a
rug woven from romantic notions and honing their craft. Long-term
planning is virtually about the freedom and the joy of musicians
lives. impossible; when faced with a decision, musicians are likely
to do what is best for their craft rather than what is best for As
we reflect on the UX for Good experience, we believe that their
livelihood - a completely reasonable approach, given the greatest
virtue the designers brought to New Orleans that they left the
straight world long ago. was an unrelenting empathy that considered
musicians
2. Problems become more complex when musicians face
tourism-based, live music economy. After talking difficulties
within this system. Consider the situation of a with musicians from
a variety of backgrounds, the designers musician whose instrument
is damaged. When most of us concluded that there was a substantial,
unmet need for music have a problem with a computer at the office
or a machine at management tools and talent that would help New
Orleans a factory, we assume that a phone call to the right person
will musicians connect with the greater economy. These music fix
the problem. While we understand that the equipment management
tasks include: finding new gigs; promotingInsight Labs is research
and development for social change, must be fixed for the business
to continue making money, shows and recordings; obtaining secondary
resources;seeking disruptive models for improving quality of life
through we would consider it grossly unfair if the cost were taken
seeking opportunities for professional development andthe arts,
healthcare, public education, civics and philanthropy. out of our
salary, or if we werent paid while the machine collaboration; and
others. Many such tasks were traditionallyIts pro-bono think tank
in which top minds in business, was fixed. Musicians must bear both
burdens, as well as the handled by regional record labels and
(particularly in Newgovernment, academia and the arts convene
throughout the time it takes to find a competent horn doctor.
Meanwhile, Orleans) informal associations like neighborhood
krewes.US to tackle challenges in the non-profit and public sectors
- how should they make a living? How does one explain this But many
such local institutions were disrupted afterhas been featured in
Forbes, Fast Company, GOOD Magazine set of problems to a social
worker or unemployment office Hurricane Katrina, and the national
music industry is noand The Chronicle of Philanthropy. bureaucrat?
Its no wonder that, over time, musicians have longer an effective
partner for the musicians of New Orleans. come to only trust other
music people. For example, as interviewees in the city told our
designers, most professional managers are not interested in acts
that If we want musicians to keep doing the things that musicians
gross less than $500,000 per year. do, we need to design economic
and social solutions that are compatible with the ways musicians
must live. The key is to The solution to this issue is not to
connect NOLA musicians find the nodes where musicians experience
connects with the to the shrinking amount of money in the national
recordingInsight Labs is a founder and the incubator for UX for
Good, rest of the economy. As Reid Wick of the Recording Academy
industry. Instead, musicians should be using new tools tothe first
effort to leverage user experience design for large- told us, If
youre a shrimper, youre out doing your own connect to the
substantial but untapped New Orleans touristscale social good. User
experience design, also known as UX, thing all day. But at some
point youve got to come back and economy. After meeting with local
officials and musicians, ouris an increasingly influential field,
known for integrating connect and dock with the rest of the
economy. Thats what designers learned that about 8.8 million
tourists visit Newempathy, ergonomics, technology and systems
design. UX for musicians need to do too. Orleans every year. Even
if those tourists were the sole baseGood events have four key
elements, which guided design of of support for the citys
approximately 4,500 musicians, theUX for Good 2012 in New Orleans.
Music management is a vital skill set, but it doesnt math to solve
the problem is easy If a little more than $5 need to come from the
music industry as we could move from every tourist directly to the
musicians, theirTo see a documentary short about UX for Good 2012,
currently know it. New Orleans needs a form of average income could
be increased by an average of
$10,000,visitvimeo.com/ux4good/nola2012. music management that fits
New Orleans and its ensuring many of them a secure place in the
middle class.
3. In this context, the lack of a substantial music industry in
managers. When musicians are just getting started, they New Orleans
should not be viewed as a liability. Instead, could use these tools
themselves to track basic information New Orleans represents a
significant opportunity to like income, attendance, and social
media feedback. Over design new ways of connecting musicians to a
sizable but time, though, the same set of tools would help
musicians untapped base of live music customers with expendable tap
into collective intelligence in order to make better income. The
solutions developed by the UX designers all decisions about their
careers. For example, geo-location speak to this opportunity. and
check-ins could help musicians see where large number of fans
gather and help them plan a more effective schedule of gigs.
SOLUTIONS The UX designers developed a number of solutions that
This same set of tools would be useful for New Orleans could help
musicians more easily obtain the resources they music fans. Because
of the overwhelming number of venues need to thrive. The Insight
Labs team noticed that these and artists, most tourists find it
difficult to navigate the New solutions clustered around three
concepts that could more Orleans music scene as easily as they
would use a record effectively connect NOLA musicians with the
regional store or music-sharing app. The ability to follow bands
tourist economy. and musicians via their phones would help them to
more effectively structure their visits to the city around music,
REMAKING MANAGEMENT getting more dollars directly into the hands of
musicians. How can New Orleans musicians benefit from management
The tools would also enable musicians to build relationships skills
if full-time music industry professionals are not with tourists
that would persist after they had left the city. willing to
represent them? By taking advantage of digital Many digital tools
currently exist to aggregate information tools in order to
aggregate the managerial intelligence of about fans musical
preferences; the tools proposed by everyone below the existing
professional threshold. our designers would be the first to use
that information toCHALLENGES empower musicians, too.Designers were
divided into two teams, each charged with Our designers proposed a
digital toolbox that could beproposing solutions to its own
challenge: effectively used by both musicians and fans to manage In
the long run, the goal of developing these digital tools and
promote live New Orleans acts - a kind of FitBit for would be to
enable a new class of music managers with skillHow can we
re-arrange elements of the New Orleansmusic scene to help artists
survive and thrive in adigital economy?It seems like all the
ingredients are there.The musicians are there. The clubs are there.
The audienceis there. But whats the tipping point that could send
it intooverdrive? Scott Goldman, vice president of MusiCares andThe
GRAMMY Foundation. Read more about this
challengeatwww.theinsightlabs.org/interview/raise-the-roof.How can
we re-arrange elements of the New Orleansmusic economy to produce
more resources for artistsin need? A lot of people took music for
granted here. It tookHurricane Katrina for us to realize what it
might be like if thatculture started to disappear. Reid Wick,
production managerfor The Recording Academy. Read more about this
challengeatwww.theinsightlabs.org/interview/dont-lose-the-beat.
4. sets that fit New Orleanss culture, economy, and live music
New Orleanss musicians need spaces where such exchanges scene. This
new type of manager would not be an agent so are central, not
peripheral. In the past, such interactions much as a curator,
employing a deep knowledge of specific may have occurred in
neighborhood institutions such artists and genres in order to
imagine new kinds of gigs and as homes, churches or
hole-in-the-wall venues far from revenue opportunities. For
example, a manager who notices Bourbon Street. Many such places
still exist, but the city that two local hip-hop artists have many
fans in common could still benefit from a new kind of institution
built for the might propose a rap battle on a Kickstarter model.
Managers generation after Hurricane Katrina. Our designers imagined
of this type would not necessarily make a full-time income these
embassies as spaces where musicians could jam from their work;
instead, they would more likely be super without the pressure of
performing for an audience. But fans, amateur musicians, or
employees of other New Orleans they would also host jam and learn
sessions where players cultural institutions. They might also be
young people with could gain managerial skills, organize to improve
theSYSTEMIC CHALLENGE Despite its central role in tourism, a strong
desire to experience New Orleans culture before community, or
discover how to gain access to services likeNew Orleanss number one
industry, no one is ultimately joining the work force. medical and
dental care.responsible for the health and welfare of the local
musiceconomy. Instead, government, non-profits, foundations and But
the possibility of creating a new, professional music Music
embassies could be supported through any numberbusinesses must work
together to sustain and promote the management class based around
digital tools should not of business models. Prominent musicians
who want to givemusic scene and the many professionals it supports.
be ruled out. The designers suggested that these new back to their
communities could establish them through acts managers could be
cultural entrepreneurs who borrow of philanthropy; corporate brands
that desire to associate models from the life paths of tech startup
pioneers or food themselves with New Orleans culture or music
couldPARTNERSHIPS Even though most of the audience for New truck
operators. Furthermore, the odds for a new music sponsor them;
embassies could also charge a nominal feeOrleanss music is from out
of town, the community that management class would be much better
if New Orleans for membership. But it should be stressed that
musiciansproduces it can be suspicious of outside help -
particularly in could develop opportunities around the two other
nodes would not be the only ones who would benefit from thesethe
aftermath of Hurricane Katrina. To establish credibility identified
by the designers. new institutions. For example, amateur musicians
with dayin the community, UX for Good collaborated with the jobs or
fans who wanted a behind-the-scenes experienceNew Orleans Jazz
& Heritage Foundation; SyncUp, a local ESTABLISHING EMBASSIES
of New Orleans music could join in order to learn from
theconference on the business of music; LaunchFest, a forum for
During UX for Good, our teams considered how to re- masters. Music
managers learning the ropes could join thethe citys start-up
businesses; and Make It Right, actor Brad arrange the elements of
the New Orleans musical economy embassies in order to build
contacts, or even rent officePitts effort to rebuild the Lower
Ninth Ward. in order to better provide economic opportunities as
well space there. In the end, the effect of the embassies would as
social services for musicians. But in the minds of many be to
complement restaurants and other venues, rounding players, the
distinctions between these categories may out the New Orleans
musical economy in a way that benefitsINTERVIEWS AND OBSERVATION
The design teams, not be meaningful. For example, consider the
situation musicians first.with their own drivers, were unleashed on
the city for several of a young guitarist who owns a Fender amp
that keepsdays, conducting dozens of interviews - with musicians,
music shorting out. In theory, the musician could be provided
RE-TOOLING TIPSindustry executives, government officials, business
owners and with funds to repair or replace the amplifier; however,
Our designers were surprised to learn how centralsocial service
providers - and observing live music in clubs, on an older, more
seasoned player could repair the amp the practice of tipping is to
making a living as astreet corners and at New Orleans Jazz Fest.
just as easily. The old-timer talks with the young player, musician
in New Orleans. At many venues, musicians teaching him how to avoid
similar problems with this type are compensated entirely in food,
drink, and tips. of amp in the future, and perhaps sharing a few
licks. This Unsurprisingly, many musicians resented the
unreliabilityDECISION-MAKERS The design teams presented their
interaction would fall somewhere between the categories of this
system and the low revenues it brings. However,findings and
proposed solutions to an audience that included of social service,
career development, mentorship, and fun. because there are so many
musicians competing for gigsexecutives from The Recording Academy,
MusiCares and New The course it would take might not make sense to
someone in New Orleans, it is very difficult to force venue
operatorsOrleans Jazz & Heritage Foundation - whose endorsement
is outside the music community. to pay more for
performances.essential for making the solutions real.
5. Therefore, instead of replacing the tipping system, one NEXT
STEPS of our design teams sought ways to make it actually work We
have no doubt that any of the tools proposed by our for musicians.
They felt that a substantial increase could designers could benefit
New Orleans musicians; together, be realized with one small change:
replacing the tip jar at they have the potential to reinvent what
it means toACKNOWLEDGEMENTS venues with a separate section on the
restaurant or bar bill where patrons could tip musicians. Think
about it - very few be a musician in the Crescent City. The most
difficult question is which actors in the system of New Orleans
areDESIGNERS Carolyn Chandler, Manifest Digital; Rob people leave a
restaurant or bar without paying, and nearly best positioned to
make these tools a reality. ComputerChappell, Peter Mayer
Advertising; Bill DeRouchey; Brynn all customers tip at least 10
percent. By contrast, many of programmers and entrepreneurs are a
natural fit to developEvans, Google +; Ryan Freitas, About.me;
Lee-Sean Huang,Purpose; John Kenny, Draftfcb; Jason Kunesh, Obama
the same people fail to tip musicians because they do not new
digital tools for management. Music embassies seemfor America; Jodi
Leo, Bolt | Peters; Tanarra Schneider, have cash, do not understand
that the musicians are only like an appropriate task for
philanthropic foundations orManifest Digital; Mark Trammell,
Twitter; Mark Andrew paid through tips, or simply forget. Adding a
tip the band forward-thinking social service providers. A new way
ofWills, Hattery; Brian Winters, Manifest Digital section to New
Orleans restaurant bills would make tipping tipping would require
the initiative of individual venues, an automatic part of life for
tourists and residents alike. Also, the cooperation of restaurant
and bar associations, or boldINSTIGATORS Jeff Leitner, Insight
Labs; Jason Ulaszek, by tying the transaction to credit cards
rather than cash, policy-making on behalf of local
government.Manifest Digital; Andrew Benedict-Nelson, Insight
Labs;Howell J. Malham Jr., Insight Labs; Al Herbach; Katy Klassman
this small change could lead to much larger average tips for
musicians (imagine if the suggested minimum amount were But an even
greater challenge is how to implement theseINTERVIEWEES Mario
Abney; Scott Aiges, New Orleans $5 instead of the pocket change
many people put in the tip new ideas in a coordinated, dynamic way.
A preliminaryJazz & Heritage Foundation; Hank Bartholomew; Evan
jar). The tip section could even include a section where fans step
might be the designation or formation of a non-Christopher; Kareem
Evan; Erin Frankenheimer, Borman could opt in to later updates from
the artist. profit group that would be responsible for
maintainingEntertainment; David Freedman, WWOZ; Scott Goldman, the
integrity of these ideas and tracking their effects onMusiCares /
The GRAMMY Foundation; Chris Joseph,Threadhead Records; Doreen
Ketchens; Maggie Koerner; Our designers imagined several other
tools to transform musicians. After all, the animating idea behind
theseTravis Laurendine, Volnado; Sasha Masakowski; Sheri tipping
into a just system for compensating New Orleans solutions is that
for New Orleans to maintain its musicMcConnell, McConnell &
Associates; Danny Melnick, musicians. Digital tipping tools could
easily be built culture, it must respect its musicians as human
beings. AnAbsolutely Live Entertainment; Sue Mobley, Sweet Home
into the management tools described above. Innovative organization
built around institutionalizing that respectNew Orleans; Nesby
Phips; Cesar Rodriguez, Make It Right; managers could also invent
new products or services for could only benefit the city and its
culture.Mark Samuels, Basin Street Records; Donna Santiago, which
musicians could receive tips. For example, groups ofBackbeat
Foundation / Hypersoul; Mahmood Shaikh, Flower musicians might
organize gigs at embassies on a KickstarterBooking; Aimee
Smallwood, Louisiana Cultural Economy model, in which the show
would only occur if enough fansFoundation; Jesse Von Doom, CASH
Music; Reid Wick, contributed tips. A digitally based tip system
would also beThe Recording Academy a natural entree for musicians
hoping to promote additionalDOCUMENTARY Noah Hutton, videographer
and editor; appearances or generate additional income.Susan
Brecker, producer; Howell J. Malham Jr., producer; JeffLeitner,
executive producer; Jason Ulaszek, executive producer To be
completely successful, these new tools would needSPONSORS Manifest
Digital; The Recording Academy; to be accompanied by a change in
consciousness towardAesthetic Apparatus; Axure; Basin Street
Records; Draftfcb; tipping among New Orleans musicians, venue
owners,The Maison; Peter Mayer Advertising; Volnado residents, and
tourists. Therefore, our designers also imagined a city-wide Tip
the Band advertising campaign,SPECIAL THANKS Joe Ballard, Clinton
Global Initiative; which would inculcate the idea that fair tipping
is partJohn Corrigan, edo Interactive; Scott Curran,
ClintonFoundation; Greentarget; Jim Jacoby, Manifest Digital; of
what it means to be a New Orleanian. Together, theseJason Benedict,
Manifest Digital; Josh Mayer, Peter Mayer initiatives would
transform tipping from an oppressive laborAdvertising; Make It
Right; Michael Orlove; Edmund Redd, system to the base of a
supercharged music economy.Vulcan Materials; Todd Ragusa, Todd
Ragusa Consulting; theWorld Cultural Economic Forum; Mayor Mitch
Landrieu andthe extraordinarily generous people of New Orleans