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.

Last year, Hewlett-Packard purchased Autonomy for $10 billion, enduring a number of arrows from its competitor Oracle. What a difference a year is!

Since the purchase HP saw the leaving of Autonomy CEO Mike Lynch, which was not on friendly terms. It also saw the departure of the whole original management team and 20 percent of the staff. Now, the question is whether or not HP will see its move compensate or become another WebOS-style fiasco, marking the company needs to stay with hardware.

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!

No industry is as global as software development.  Pervasive networking means that software developers can, and do, work from anywhere. This has led many businesses to hiring development subcontractors in other countries, aiming to find good development talent at lower prices, or with fewer hassles on entry into the US.

While this is an ongoing and dynamic equilibrium, there are compelling reasons for doing software development in the United States, or using a hybrid model where some parts of the task are parceled out to foreign contractors and some are handled locally.

Development Methodologies

The primary reason for developing software overseas is cost reduction. The primary argument against overseas software development is slower development cycles. When software still used the "waterfall" industrial process for project management (where everything is budgeted in terms of time at the beginning of the project), offshoring was quite compelling. As more companies emulate Google and Facebook's process of "release early, update often, and refine from user feedback," an increasing premium has been put on software teams that are small enough to be agile (indeed, the development process is called Agile Development), and centralized enough, in terms of time zones, that collaborators can work together. This has made both Google and Facebook leaders in US-based software development, though they both still maintain teams of developers in other countries tasked with specific projects.

Localization For Americans

The United States is still one of the major markets for software development, and projects aimed at American customers needs to meet cultural norms. This applies to any country, not just the U.S. This puts a premium on software developers who aren't just fluent in English, but native speakers, and who understand American culture. While it's possible (and even likely) to make server-side software, and management utilities that can get by with terse, fractured English, anything that's enterprise-facing or consumer-facing requires more work on polish and presentation than is practical using outsourced developers. There is a reason why the leaders in software User Interface development are all US-based companies, and that's because consumer-focused design is still an overwhelming US advantage.

Ongoing Concerns

The primary concern for American software development is talent production. The US secondary education system produces a much smaller percentage of students with a solid math and engineering background, and while US universities lead the world in their computer science and engineering curricula, slightly under half of all of those graduates are from foreign countries, because American students don't take the course loads needed to succeed in them. Software development companies in the United States are deeply concerned about getting enough engineers and programmers out of the US university system. Some, such as Google, are trying to get programmers hooked on logical problem solving at a young age, with the Summer of Code programs. Others, like Microsoft, offer scholarships for computer science degrees.

Overall, the changes in project management methodologies mean that the US is the current leader in software development, and so long as the primary market for software remains English and American-centric, that's going to remain true. That trend is far from guaranteed, and in the world of software, things can change quickly.