Another blanket article about the pros and cons of Direct to Consumer (D2C) isn’t needed, I know. By now, we all know the rules for how this model enters a market: its disruption fights any given sector’s established sales model, a fuzzy compromise is temporarily met, and the lean innovator always wins out in the end.

That’s exactly how it played out in the music industry when Apple and record companies created a digital storefront in iTunes to usher music sales into the online era. What now appears to have been a stopgap compromise, iTunes was the standard model for 5-6 years until consumers realized there was no point in purchasing and owning digital media when internet speeds increased and they could listen to it for free through a music streaming service.  In 2013, streaming models are the new music consumption standard. Netflix is nearly parallel in the film and TV world, though they’ve done a better job keeping it all under one roof. Apple mastered retail sales so well that the majority of Apple products, when bought in-person, are bought at an Apple store. That’s even more impressive when you consider how few Apple stores there are in the U.S. (253) compared to big box electronics stores that sell Apple products like Best Buy (1,100) Yet while some industries have implemented a D2C approach to great success, others haven’t even dipped a toe in the D2C pool, most notably the auto industry.

What got me thinking about this topic is the recent flurry of attention Tesla Motors has received for its D2C model. It all came to a head at the beginning of July when a petition on whitehouse.gov to allow Tesla to sell directly to consumers in all 50 states reached the 100,000 signatures required for administration comment. As you might imagine, many powerful car dealership owners armed with lobbyists have made a big stink about Elon Musk, Tesla’s CEO and Product Architect, choosing to sidestep the traditional supply chain and instead opting to sell directly to their customers through their website. These dealership owners say that they’re against the idea because they want to protect consumers, but the real motive is that they want to defend their right to exist (and who wouldn’t?). They essentially have a monopoly at their position in the sales process, and they want to keep it that way. More frightening for the dealerships is the possibility that once Tesla starts selling directly to consumers, so will the big three automakers, and they fear that would be the end of the road for their business. Interestingly enough, the big three flirted with the idea of D2C in the early 90’s before they were met with fierce backlash from dealerships. I’m sure the dealership community has no interest in mounting a fight like that again. 

To say that the laws preventing Tesla from selling online are peripherally relevant would be a compliment. By and large, the laws the dealerships point to fall under the umbrella of “Franchise Laws” that were put in place at the dawn of car sales to protect franchisees against manufacturers opening their own stores and undercutting the franchise that had invested so much to sell the manufacturer’s cars.  There’s certainly a need for those laws to exist, because no owner of a dealership selling Jeeps wants Chrysler to open their own dealership next door and sell them for substantially less. However, because Tesla is independently owned and isn’t currently selling their cars through any third party dealership, this law doesn’t really apply to them. Until their cars are sold through independent dealerships, they’re incapable of undercutting anyone by implementing D2C structure.

It’s the eternal conundrum of a hiring manager – you have to hire for every single position in the company without any first-hand experience. How to do it? If you can have a trusted programmer sit in on the interview, that’s ideal, of course. But what if you’re hiring your first programmer? Or what if you’re hiring a freelancer? Or what if company policy dictates that you’re the only person allowed to do the interviewing? Well, in that case, you need some helpful advice and your innate bullshit detector. We questioned programmers and hiring managers and compiled a list of dos and don’ts. Here are some things to ask when interviewing programmers:

Past Experience

Ask the programmer about the biggest disaster of his career so far, and how he handled it. Did he come in at midnight to fix the code? Was he unaware of the problem until someone brought it up? Did someone else handle it?  According to our programmer sources, “Anyone worth their salt has caused a major meltdown. If they say they haven’t, they’re lying. Or very, very green.” Pushing a code with bugs in it isn’t necessarily bad. Not handling it well is bad.

As usual, your biggest asset is not knowing the field, it is knowing people. Asking about career disasters can be uncomfortable, but if the interviewee is experienced and honest then she won’t have a problem telling you about it, and you will get an idea of how she handles mishaps. Even if you don’t understand what the disaster was or how it was fixed, you should be able to tell how honest she’s being and how she handles being put on the spot.

The name placard in your cube might not say anything about sales, but the truth is that everyone, employed as such or not, is a salesperson at some point every single day. In the traditional sense, this could mean something like pitching your company’s solutions to a client. In the less-traditional sense, it could mean convincing your child to eat their vegetables. Yet for those two drastically different examples and everything in between, there is a constant for successful sellers: unveiling the “Why.”

Spending time and energy making prospects understand why you do what you do instead of exactly what it is you do or how you do it is not a new concept. But I’m a firm believer that proven concepts, no matter how old and frequently referenced they are, can’t be repeated enough. This idea has recently and fervently been popularized by marketer, author, and thinker extraordinaire Simon Sinek via his 2009 book, Start With Why. You can learn about him here on Wikipedia or here on his site. To begin, let me suggest that you watch Sinek’s TED talk on Starting With Why here on YouTube before reading any further. I’ll let him take care of the bulk of explaining the basics, and then will offer some ideas of my own to back this up in the real world and explore the best ways to start thinking this way and apply it to your business.

First, a little on me. After all, if I were to practice what Sinek preaches, it would follow that I explain why it is I’m writing this piece so that you, the reader, not only have a good reason to pay attention but also understand what drives me on a deeper level. So, who am I? I’m an entrepreneur in the music space. I do freelance work in the realms of copywriting, business development, and marketing for artists and industry / music-tech folks, but my main project is doing all of the above for a project I’ve been on the team for since day one called Presskit.to. In short, Presskit.to builds digital portfolios that artists of all kinds can use to represent themselves professionally when pitching their projects to gatekeepers like label reps, casting directors, managers, the press, etc. This core technology is also applicable to larger entertainment industry businesses and fine arts education institutions in enterprise formats, and solves a variety of the problems they’re facing.

Not interesting? I don’t blame you for thinking so, if you did. That’s because I just gave you a bland overview of what we do, instead of why we do it. What if, instead, I told you that myself and everyone I work with is an artist of some sort and believes that the most important thing you can do in life is create; that our technology exists to make creators’ careers more easily sustainable. Or, another approach, that we think the world is a better place when artists can make more art, and that because our technology was built to help artists win more business, we’re trying our best to do our part. Only you can be the judge, but I think that sort of pitch is more compelling. It touches on the emotions responsible for decision making that Sinek outlines in his Ted Talk, rather than the practical language-based reasons like pricing, technicalities, how everything works to accomplish given goals, etc. These things are on the outside of the golden circle Sinek shows us for a reason – they only really matter if you’ve aligned your beliefs with a client’s first. Otherwise these kind of tidbits are gobbledygook, and mind-numbingly boring gobbledygook at that.

As someone who works in many facets of the music industry, I used to seethe with a mixture of anger and jealousy when I would hear people in more “traditional” goods-based industries argue in favor of music content-based piracy. They made all the classic talking points, like “I wouldn’t spend money on this artist normally, and maybe if I like it I’ll spend money on them when they come to town” (which never happened), or “artists are rich and I’m poor, they don’t need my money” (rarely the case), or the worst, “if it were fairly priced and worth paying for, I’d buy it” (not true).  I always wondered if they’d have the same attitude if 63% of the things acquired by customers in their industries weren’t actually paid for, as was conservatively estimated as the case for the music industry in 2009 (other estimations put the figure of pirated music at 95%). Well, we may soon see the answer to curiosities like that. Though one can say with tentative confidence that music piracy is on the decline thanks to services like Spotify and Rdio, it could be looming on the horizon for the entire global, physical supply chain. Yes, I’m talking about 3d printers.

Before I get into the heart of this article, let me take a moment to make one thing clear: I think these machines are incredible. It’s damn near inspiring to think of even a few of their potentially world-changing applications: affordable, perfectly fit prosthetic limbs for wounded servicemen and women; the ability to create a piece of machinery on the spot instead of having to wait for a spare to arrive in the mail, or en route if your car or ship breaks down in a far away place; a company based out of Austin, TX even made a fully functioning firearm from a 3d printer a few months ago.

If these machines become as consumer-friendly and idiot-proof as possible (like computers), it’s possible that in a matter of decades (maybe less), a majority of U.S. households will have their own 3d printer. There’s also the possibility they could take the tech-hobbyist path, one that is much less appealing to the masses. Dale Dougherty of Makezine.com estimates there are currently around 100,000 “personal” 3d printers, or those not owned for business or educational purposes. I don’t think they’ll ever be as ubiquitous as computers, but there are plenty of mechanically inclined, crafty hobbyists out there who would love to play around with a 3d printer if it was affordable enough.

That being said, is there reason to worry about the economic implications of consumers making what they want, essentially for free, instead of paying someone else to produce it? Or will the printers instead be used for unique items more so than replicating and ripping off other companies’ merchandise in mass amounts? The number of people working in industries that would be affected by a development like this is far greater than the number of people who work in content-based industries, so any downturn would probably have a much larger economic implications. Certainly, those times are a ways off, but a little foresightedness never hurt anyone!