![]() And one of the things I do is hold up this headline that reads, “SXSW: How Big Is Too Big?” And then I tell everybody that this is from 1991. Every year in February we have these Saturday meetings for the staff, which is a little over 200 people right now. SXSW has been criticized for too much brand involvement. So then the year after that, everybody who had a new tech idea or a new app or something new, many of them came to our event to promote it. And pretty much after that, Twitter went worldwide. But at the same time in the room, everybody was tweeting about what they were seeing and hearing and “Why don’t they talk about this?” and “Is that guy crazy or what?” So there was this sort of two-part thing going on: there was what was happening in the physical world and there was what was happening in the digital world all at the same time in the same place. But then the thing that happened along with that was this new kind of event where 400 people would be in a room listening to a handful of people talk on stage and answer questions. They did this thing where they put up flat screens all around the Convention Center, which was still fairly new then, and the idea was that you could tweet and your comments would show up on these screens. Probably the next one would be in 2006 or 2007, when Twitter came to Austin and did this big promotion with the registrants here. ![]() And in that same year was when we started the film festival and the digital media festival. When I was in the music business, I worked with acts that didn’t have a deal and I worked with acts that had major label deals, and they really had the same problems and the same needs, which was, “How do I continue to reach out to a broader audience?” So that was really what we were trying to do. It was always designed for any musical act to be able to use and accomplish their goals. A lot of people used to say, “Ah, it always used to be unsigned acts,” and so forth. And what he did in terms of using it as a way to reposition himself and tap into a different market really became an example for the industry and more established artists as how they could use SXSW to further their goals. That was the first time we had someone who had sold 50 million records come to our event. ![]() ![]() Well, the first one I usually point to is 1994, when we were able to get Johnny Cash to come and be the Keynote Speaker and perform. This is pretty cutting-edge stuff for meetings, and we’re proud to work with this company from Vancouver called EventBase, and they’ve helped us develop this new technology.Īlong the way, what were some of your biggest milestones and successes? ![]() It’ll also tell you who’s close to you, what other registrants are nearby, particularly ones that you’ve marked as people you want to see. So if you have your app open and you have Bluetooth on, as you walk by certain areas you’ll get messages about what’s going on nearby. YouTube’s 2016 SXSW Lineup: Future, Troye Sivan, Blood Orange, Jamie xx & More (Exclusive)Īnother thing that we started doing last year and we’re doing even more this year is working with what they call beacons: little disc-like devices, and we’re gonna install like 5,000 of them all around. ![]()
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