Alex Meshkin is a technology executive and serial entrepreneur having founded or led organizations in healthcare, digital media, sports, and global outsourcing services.

Meshkin is  Executive Chairman of huvi, a social commerce platform, enabling consumers to buy and sell digital movies. huvi works in partnership with major Hollywood studios to reduce piracy, monetize consumer to consumer transactions and enable a secondary market for digital goods.

More recently, Meshkin co-founded a health IT Company where a team of leading health care providers, technology entrepreneurs and product development ninjas are building a platform to improve collaboration and communications in healthcare.

In 1999, at the age of 19, Meshkin launched his first consumer internet start-up and experienced the ups and downs of entrepreneurship. In the years that followed, Meshkin became the CEO of Toyota Motorsports’ flagship NASCAR racing team, Bang! Racing. Toyota selected the young Meshkin from 83 NASCAR race team candidates; to lead Toyota’s factory supported NASCAR racing team. Toyota’s partnership with Meshkin created one of the most successful racing organizations in its first year of operations.

In 2004, Bang! Racing made NASCAR history – setting numerous milestones. As the principle owner of Bang! Racing, Meshkin became the youngest team owner in NASCAR history and the team became the most successful first year NASCAR race team – winning Toyota’s first two races in their inaugural season.

Bang Holdings, the parent company of Bang! Racing was also a success off the race track.  In its first year of operations, Bang generated over $15 million in revenues; partnered with Vertrue to form a joint venture; and with their strategic technology partner eBay created and operated a NASCAR consumer membership and affinity marketing club.

By the age of 23, Meshkin was one of NASCAR’s elite team owners and a recurring guest on Fox News Channel and CNBC Squawk Box; and featured in numerous publications, including Fortune, Sporting News, Racer, Associated Press and Sports Illustrated.

Bang! Racing sponsors included, Toyota Motor Sales, DuPont, Viacom (Showtime Networks), Line-X, Valvoline and Snap-On Tools. In 2005, the race team was acquired by Toyota Motorsports and Bill Davis Racing. The technology divisions were merged in 2006 into Cloverleaf Partners and the NASCAR membership club became FastTrack Savings operating as DealPass.com.

Prior to Bang! Racing, Meshkin founded and operated a global software development company with a focus on healthcare and pharmaceutical platforms with clients such as Johnson & Johnson and Eli Lilly.

Additionally, Meshkin served as Director of Product and Strategic Development of cyberCFO, a venture funded financial services firm and later as VP and GM at Cloverleaf Partners.  Meshkin started his digital media entrepreneurial career at the age of 19, when he founded and led the first online “points” based dynamic commerce/auction model.

To learn more about Alex Meshkin, please visit his blog at http://alexmeshkin.com and LinkedIn: http://linkedin.com/in/meshkin. Check out his videos on YouTube: http://www.youtube.com/alexmeshkin

I believe it’s time for NASCAR to hire a Chief Digital Officer to lead the development and implementation of a marketing strategy and business model to engage fans across digital platforms. And equally as important, work in concert with broadcast partners, corporate sponsors, teams, drivers and digital media entrepreneurs to maximize the potential of the digital medium.

For the sake of all stakeholders, let’s hope Brian France is listening and takes intelligent action that is currently available to quickly reverse the downward trends before ratings, attendance and corporate sponsorships are permanently in reverse.

What most fans don’t realize is an insider’s little known secret – nearly ALL NASCAR teams are financial failures. Even the most successful teams, such as Hendrick Motorsports or Penske Racing – are dreadful businesses – and would be unsustainable if not for their wealthy owners. Unlike nearly every other sport, where the most successful and popular teams are profitable and have long term shareholder value, the on-track success or even popularity of a NASCAR team has little impact on the financial results of the team. It is shocking to learn that the operating budget cannot even be met for a team that wins every single race, when the race winnings are barely 40% of the operating budget. How can teams survive – and even more so, how can this sport survive?

Some may argue an antiquated assessment – successful on-track performance will translate into more sponsorship dollars. However, in today environment the annual NASCAR team budget (each car) exceeds $20 million dollars.

With that being said, NASCAR has the potential to unlock opportunities to revive the financial outlook of the sport. But it must begin with reacquiring all the digital rights that have been irresponsibly divided and parsed between Turner Sports and Sprint. NASCAR needs to stop licensing and giving up rights for short term financial gains of the sanctioning body and recognize that the digital channel may be the last and best hope for teams to survive. This begins with a cohesive digital strategy that works across all broadcast partners – instead of isolating TNN (Turner) from Fox, ESPN, and NBC. If NASCAR.com is going to offer a live simulcast of races during TNN broadcasted races, which I support, NASCAR needs to find an acceptable business model to extend this platform to all broadcast partners. While this would be a good foundation, the real opportunity is to unlock real-time data from the on-board black boxes (telemetry) and team communications to a broader set of partners and participate with revenue sharing agreements to monetize these underutilized assets. (NASCAR Must Embrace New Media: Proposal Attached).

Digging deeper into the marketplace, one recognizes that the content available on Netflix Streaming is at best equivalent to Pay TV. For further clarification, 80% of DVDs, VOD or EST purchases occur in the first 120 days after the release to DVD – well before the Pay TV window or availability on Netflix Streaming. (Note: New Release DVDs are available for rent on Netflix 28-days after release).

But even more revealing, the available content on Netflix Streaming may become increasingly more difficult to expand.  Back in 2008, Netflix signed an agreement with Starz to gain backdoor access to Disney and Sony Pictures’ movies during the Pay TV window.  However, the deal expires in 2011 and Disney has recently made a concerted effort to renegotiate its Starz deal to circumvent Netflix’s ability to renew its Starz license. With this being said, it appears difficult at best for Netflix to maintain the Starz relationship and its considerable portion of the content available for streaming. Conversely, if Netflix is successful in renewing its license with Starz my estimates would place the licensing cost at upwards of $300 million a per year or about $20 per user, which could drive up the monthly subscription price.

Many believe that the uncertainty surrounding its license with Starz was a driving force behind its deal with Epix. While much has been made by the media of the deal with Epix to provide Netflix the ability to stream movies from Lionsgate, Paramount (excluding DreamWorks) and MGM, the movies won’t be available until 90 days after the Pay TV window or approximately 1 year after the initial DVD release. While this is still a big win for Netflix, it has little negative effect on the VOD or EST marketplace. However, on the other hand, Netflix has a major impact on consumer behavior – by shifting more consumers away from physical discs – digital then becomes the primary method for consumers to watch movies. Unlike the music industry, where the most devoted music consumers can opt to subscribe to Spotify or Rhapsody to gain access to ALL music they want to consume, the movie industry is vastly different and is unable to support an all you can eatmodel for its premium content. Currently, consumers who want to digitally “rent” or to “own” a new release or recently released movie must choose an alternative to Netflix Streaming – which currently is only a la carteservices.

As Netflix has demonstrated, the Connected TV and Set-Top Box marketplace has transformed the digital entertainment landscape. I believe the result of this transformation will be demonstrated in the next few years with consumers gaining more choices in how they watch movies and will ultimately shift the power from cable and TV service providers into the hands of innovative services providing consumers with anytime, anywhere access to their favorite movies. The future for digital entertainment is bright – and I predict dramatic innovations for 2011.

While many believe that Spotify and/or Mog are going to transform the music industry and somehow replace the revenue from the fast eroding music purchaser, I am doubtful this approach will save the industry.  Furthermore, this dialogue camouflages the true problems with digital sales. In the physical world, Ownership and Access are clear cut user experiences each with their own value proposition. In the Digital Age content is easily available through illegal file sharing, and digital ownership experiences are limited and governed in a way that challenges the integrity of the intended experience. Therefore, if media executives are committed to electronic sell-through or download to own content, they must re-examine how they define digital ownership and encourage meaningful innovations.

Again, looking at the music industry, Lala introduced a novel access based business model – but failed to gain traction because of other more compelling (free) access models in the marketplace. Without question “free” access is highly desirable for consumers, but content owners and entrepreneurs have yet found a profitable monetization strategy. In December, when Apple acquired Lala, most industry insiders recognized Apple’s desire to transform iTunes from a pure download to own experience to a cloud-enabled ownership model. The complexities of music licensing however, may prevent this vision coming to fruition.

In the music industry, there are competing opinions of what is meant by “Digital Ownership”.  Michael Robertson, an outspoken critic of the licensing practices of the industry, founder of MP3.com and current CEO of MP3tunes.com, has spoken frequently that consumers should have the right to stream their personal owned music from personal lockers or cloud services without the service provider being responsible paying additional royalties to labels. But labels on the other hand, contest this position and argue that cloud based streaming constitutes a different licensing right than electronic sell through and thus triggers additional royalties.

No matter which side of the argument your business interests may place you, the greater argument where I believe most would agree is that increasing the rights associated with “Digital Ownership” will make digital content more attractive to consumers, thereby making them more likely to become purchasers.

Those who believe that consumers want Access and don’t care about Ownership may be right. But then again, it may be those who believe that consumers want to own content, who are correct. Regardless, both sides would likely agree that Digital Ownership needs flexible usage models that include anywhere, anytime access – and responsible sharing or trading, otherwise, it is just not an attractive enough proposition to purchase digital content. Without innovation around Digital Ownership, the media industry may not have a choice – leaving them without an electronic sell through option to monetize digital content.

Just as technology has created unprecedented opportunities for Access models, the same holds true for commerce models that deliver on the promise of Digital Ownership. To date, there isn’t a single digital music, movie, television, book or gaming service that has delivered a Digital Ownership experience that exceeds the physical media experience.  Until entrepreneurs and content owners effectively deliver on the promise of the Digital Age – none of us will fully embrace digital content ownership.

(Disclaimer: I am the CEO of huvi, a digital media service that is under development that promises to revolutionize what it means to own digital content.)

Josh Kopelman pointed out some fascinating empirical evidence to support the need for massive innovation in the ecommerce marketplace.

• More than half of today’s top 15 most trafficked websites today did not exist back in 1999.  That is not a surprise, as Facebook, Youtube, Wikipedia, Myspace, Blogger, Live.com and Twitter are all new — and are representative of the massive amount of innovation and disruption that has occurred in the last decade.
• Yet, of the top 15 most trafficked eCommerce websites today, just one of them did not exist back in 1999 (NewEgg – which launched in 2001).  Which means that over 90% of the top eCommerce websites are over 12 years old!  That is pretty remarkable to me — and reflects an amazing lack of external innovation (and disruption).

As Josh Kopelman further points out, the online shopping paradigm is finally changing.  In the past year, there has been an increasing amount of innovation, including, group buying, private shopping sites and alternative payment technologies.

As an entrepreneur and ecommerce innovator, I believe the best is ahead of us. The future of ecommerce a/k/a Commerce 2.0 is a future whereby the service itself will be able to generate traffic in much of the same ways that Twitter and Facebook have transformed social media.

At my company huvi, we are developing a next generation digital media marketplace that will transform how consumers buy, share and consume digital content.

My unique perspectives are a result of “one of kind” experiences which are vastly different than any other thought leader in the NASCAR industry: a web 1.0 entrepreneur, NASCAR Team Owner (Bang Racing), and today, an executive in the current social and digital media industry. While there are unlimited opportunities for NASCAR to leverage digital media technologies and corresponding social/digital business models; I have a specific proposal for NASCAR and specifically Paul Brooks, President of NASCAR Media Group.

I know from my personal experiences in working with Paul Brooks at NASCAR, he is one of the most forward thinking executives at NASCAR and I hope he embraces the following proposal. For those unfamiliar with NASCAR’s approach to partnerships and licensing; NASCAR has historically required substantial licensing fees to pursue any type of business relationship, which in all fairness has generated significant profits in the past decade. However, moving forward in the dynamic digital economy and facing the challenges to continue to grow their audience and fan base, NASCAR must now look to tap into emerging technologies and unlock entrepreneurial ingenuity to develop innovative business models to increase fan exposure and create new revenue sources.

The first initiative I believe NASCAR should pursue is to open up access to the racing data acquired through the on-board computer/black box. Just to be clear, I am not suggesting that NASCAR should allow live telemetry for the racing teams, but I am proposing an online database which could be accessed for technology entrepreneurs, game developers, media, and entrepreneurs and racing teams. By enabling open access to the racing data that could be parsed and leveraged, businesses and entrepreneurs could bring forth innovation to drive new revenue sources and digital media exposure for NASCAR and its teams.

Technically speaking – NASCAR needs to publish a set of Application Programming Interfaces (APIs) which could be available for commercial and non-commercial use that could create the opportunity to unlock the creativity of technology and digital media entrepreneurs and leverage the private equity markets to develop business models to reignite the excitement and consumer interest in NASCAR.

Even though my current business focus has little to do with NASCAR or motorsports, I strongly believe that NASCAR must embrace new media business models and techniques. Paul, if you are interested to speak regarding these ideas -you know how to reach me.

Best, Alex Meshkin.

What is the root cause of these two prominent and long-term sponsors leaving NASCAR? The answer is simple: there are too many compelling alternatives which have a greater ROI and offer far less risk. Let’s be honest, primary sponsors are asked to commit up to $25 Million to purchase “so called advertising” without any meaningful guaranties of consumer advertising impressions. Sounds rather ominous, right?

Of course, sponsoring Dale Earnhardt Jr. and any of the other top performing drivers offers a unique value proposition: residue value through their brand loyal fans, merchandise and alike. But the vast majority of sponsors are receiving a diminishing ROI by virtue of the rising costs of NASCAR sponsorship and decreased television viewership and race attendance. Since 2004, the cost of becoming a primary sponsor of a top performing Sprint Cup team has soared by over 60% while television ratings have dropped by about 10%. The dichotomy of rising sponsorship costs and decreased television exposure is a disturbing trend which is primarily affecting the worst performing teams but could soon start to challenge the most elite NASCAR teams. The change in corporate sponsors’ attitudes towards NASCAR sponsorship shouldn’t surprise anyone.

However, NASCAR and its Teams have either refused or do not understand how to evolve in the digital age where advertisers can purchase measureable and interactive advertising with far less risk and much greater ROI. Unlike, most “traditional” businesses that reinvent themselves and innovate; NASCAR has failed to bring forth any meaningful innovations that can directly increase sponsors’ exposure and ROI.

Chip Ganassi Racing has had and continues to be one of the best performing open-wheel racing teams; and clearly delivers on and off the track performance for Target in the IndyCar Series. But unfortunately, Chip Ganassi’s foray into NASCAR has been a bitter disappointment. In 2006, Chip Ganassi secured Juan Pablo Montoya to pilot the #42 Texaco Dodge in the Sprint Cup series and hoped the media attention of the former IndyCar and Indy 500 Champion would ignite the performance and success of his NASCAR team. But excluding a few promising races (mostly on road courses) Montoya’s NASCAR career has underperformed. It appears Chip Ganassi Racing may be another victim of the sponsorship race; and soon join NASCAR’s elite defunct team list.

This announcement follows the acquisition of Jayski, a NASCAR gossip site in 2007. Racing-Live.com strengthens ESPN’s global business and provides a digital avenue to monetize Formula 1 racing through the site’s three million unique users per month.

I’m delighted that ESPN now offers sports fans world-class online coverage of football, rugby, cricket and motor racing, said Lynne Frank, Managing Director of ESPN, Europe, Middle East and Africa. Racing-Live.com is a leader in its category and has built a solid base from which to further develop our digital motor sports offering. We are particularly pleased that Racing-Live.com joins ESPN in the middle of another fantastic Formula 1 season.

It is going to be interesting to observe how ESPN integrates Racing-Live into its portfolio of digital media businesses; given Racing-Live isn’t the first digital media acquisition made by ESPN. Since the acquisition of Jayski in 2007, very little has changed and even its website has remained almost identical since its inception in 1996. The business model of Jayski is very different than traditional media sites and focuses primarily on unofficial team generated content – basically translated; employees’ of race teams share gossip, rumors, opinions and often lies about their employers and/or competitors. This model has created a very sticky site and thus was a procuring reason for ESPN acquiring Jayski.

Some may wonder if the Jayski model would be successful in Formula 1. I seriously doubt it and this is why: NASCAR is a unique culture with the rumor mill driven primarily by the close physical proximity of all the race teams. Speaking from personal experience; if I had lunch with a driver from another team – it would instantly be posted to Jayski …”hearing XYZ driver may be headed to Bang Racing.” While there is an element of truth to the “gossip”- it is usually twisted with an element of fiction.

Because the culture of NASCAR Sprint Cup is clearly trending more towards Formula 1 than vice-a-versa; and with the super teams becoming more self-sufficient and less reliant on vendors to support the sponsorship development process; it is likely that Jayski’s sources will be minimized at best and rumors and the like will become less prevalent.

With that said; don’t expect to see ESPN exporting the Jayski business model over the pond; but maybe expect to see Racing-Live expanding into mainstream American motorsports.

The sports site online advertising market is mostly untapped by NASCAR and remains a huge opportunity for race teams to tap into and ensure their continued viability in these difficult economic times.

While the most dedicated NASCAR fans are not your typical early adopters of online services; there still remains a tremendous opportunity to harness the power of the loyal demographic who embraces the internet as a regular source of news and entertainment. According to Quantcast, NASCAR.com generates approximately 3.7 M monthly unique users and peaks at over 6.5 M during the beginning of the season. So while the audience may be limited in numbers, the unmatched advertiser loyalty provides a desirable market opportunity to distribute content directly to fans through digital channels for racing teams such as Hendrick Motorsports, Roush Fenway and Joe Gibbs Racing. Unlike the franchised sports teams of the NFL, NBA, NHL and MLB; NASCAR Teams have complete autonomy of their online presence and content. This provides a significant value proposition where teams can leverage their content through a variety of online business models to create interaction with fans and ultimately new sources of advertising revenue. This would likely result in considerable exposure for their existing sponsors; and consequently create a new advertising inventory that would be measurable and provide a clear Return on Investment (ROI).

As a former NASCAR Team Owner, Sports Marketer and Digital Media Entrepreneur; I have succeeded in bringing new sponsors such as eBay and Toyota into NASCAR, and leveraged online advertising to unlock revenue sources from digital channels that created a history making NASCAR racing team. The potential has never been greater and the most successful teams have the largest market opportunity to generate significant value that can be monetized in the digital economy.