Monthly Archive for January, 2008

U2 Manager Says Google And Its Hippie Friends Should Pay The Recording Industry — Techdirt

Longtime U2 manager, Paul McGuinness created quite a stir yesterday with his speech at the MIDEM conference. In short, he is blaming technology manufacturers and ISPs for stealing music industry money. He called on them to start taking responsiblity for the content they have profited from for years, and start sharing their revenues with the content makers and owners.

He also asked Internet Service Providers to immediately introduce disconnection policies to end illegal music downloads and urged governments to make sure they do.

Some very entertaining analysis can be found at Techdirt:

These companies, McGuinness claims, need to help out “not on the basis of reluctantly sharing advertising revenue, but collecting revenue for the use and sale of our content.”

Techdirt: Uh huh. And I guess that automobile companies should be collecting revenue for the oil companies. And, home builders should be collecting revenue for the electricity companies. And, airlines should be collecting revenue for the hotel industry. You see, these are all separate industries. They may be complementary, but it’s up to each one individually to figure out the business models that work. None should be pressured into saving the other from its own missteps.

I take issue with a great deal of the McGuinness speech, but I keep coming back to this statement:

And embedded deep down in the brilliance of those entrepreneurial, hippy values seems to be a disregard for the true value of music.

This seems to be a topic of great debate lately - the “true value of music”. As for myself, I don’t think the problem is that people don’t believe music holds no value. The problem is that people believe digital files have no value - or very little anyway. In our highly-matrixed world of shoddy hardware and unstable operating systems - vulnerabilities and viruses littering the digital ecosystem, the perception is that a digital file is so easily corrupted, deleted, lost, etc. and is simply not permanent. Why should someone pay a premium price ($0.99) for something that THEY perceive as impermanent and holds very little value (i.e. a digital file containing 3-4 minutes of data)?

Moving on, always colorful but a bit long-winded, Bob Lefsetz chimes-in with some of my favorite analysis:

Paul McGuinness just pulled a Metallica here. Another uninformed rich music industryite with no idea how the Internet and technology truly work is only going to end up a sideshow, with egg on his face. Metallica has spent almost a decade trying to come back from the brink. Will it take McGuinness that long? It will take the music business at least that long if they listen to him.

And lastly, an interesting tidbit of information was revealed by McGuinness: Universal Music gets $1.00 for every Zune MP3 player sold. We previously knew Universal was getting something back from Microsoft, but the amount has always remained undisclosed.

McGuinness Speech In Full — Billboard.biz

U2 Manager Says Google And Its Hippie Friends Should Pay The Recording Industry — Techdirt

Pint of McGuinness Stirs Heavy Industry Reaction — Digital Music News

U2 Manager Takes Internet Providers To Task — Yahoo! News

Seth Godin: Tribe Management

This is essentially the fabled “Grateful Dead Business Model” but I love it all the same. Seth Godin coins the phrase “Tribe Management” as a whole different way of looking at the brand management world. From Seth:

It starts with permission, the understanding that the real asset most organizations can build isn’t an amorphous brand but is in fact the privilege of delivering anticipated, personal and relevant messages to people who want to get them.

It adds to that the fact that what people really want is the ability to connect to each other, not to companies. So the permission is used to build a tribe, to build people who want to hear from the company because it helps them connect, it helps them find each other, it gives them a story to tell and something to talk about.

Instead of looking for customers for your products, you seek out products (and services) for the tribe. Jerry Garcia understood this. Do you?

Simply stated, the “Grateful Dead Business Model” holds that any success comes NOT from a pre-conceived master plan, rather growth is generated from a love and respect for the fans/customers:

  1. Demonstrate love and respect for the fans/customers
  2. Spend quality time face-to-face with the people who matter – the fans/customers
  3. Celebrate uncommon sense - adhere to your unique ideas
  4. Create a community of fans/customers
  5. Stay true to the brand and extend it with integrity

Seth’s Blog: Tribe Management

Best Sales-Person In The Store?

Are You Sure You Can Sell This?Let’s work this one out: the world as one giant music store…

Who are the best sales-people (or, the best person to sell a piece of music to you) in the store / world?

  1. the Artist (seeing an Artist perform live)
  2. trusted and knowledgeable staff (music taste experts / media)
  3. friends with similar music tastes / interests (non-media)

Is there anything more to this? Does it ever go beyond this?

A Brave New World: The Music Biz At The Dawn Of 2008 — Ars Technica

Great article and case study on the changing music industry by Nate Anderson at Ars Technica, a technology news and reviews site. In short, CD sales are down, major label revenues are sliding, and the music industry looks to be in recession. But music isn’t dying; it’s changing…

Ok, we already knew all that, but it’s still a good read. Here are a couple of great quotes:

What’s happening is obvious; consumers are making far more purchases than ever before, but are often choosing to grab only selected tracks rather than complete albums. The album may not be dying in a general way, but it has certainly lost its importance as the primary way that buyers in the digital era get their music. Bands with a track record of putting out uneven albums won’t be able to milk that strategy for massive profits anymore, nor will any labels that nurture such acts.

It’s often said that it’s hard to compete with free, and that may be true for some segments of the population. (Are college kids ever really going to cough up much cash?) But for most adults who don’t get off on breaking the law or on stiffing artists, it’s easy enough to compete with free. Make something that’s faster, more reliable, with better metadata and album art, and a huge DRM-free selection. Throw in charts, some editorial staff, and some community features, and money is there to be made.

Throw in a solid graphic with numbers on digital and physical music sales from 2003 through 2007…

Digital And Physical Music Sales - 2003-07

Also, make sure to check out the eMusic case study on page 2. Some impressive numbers on digital downloads and the state of indie music in general is brought forward…

Internet distribution has opened up music (like many other products) to the effects of the “long tail.” Since huge quantities of goods costs so little to store and deliver, online venues can offer products that appeal only to very small numbers of people and still make money. “The long tail does better online,” said [eMusic CEO David] Pakman, saying that eMusic is proof of that fact.

A Brave New World: The Music Biz At The Dawn Of 2008

Mark Cuban: The Album Is Dead… — Blog Maverick

Blog MaverickMark Cuban (aka blog maverick), weighs in on music industry problems and proposes the idea of releasing songs in an elongated series the same way a television show season unfolds. He calls it serializing…

Reading last weeks billboard, something interesting popped out at me. The song Low Rider by Flo Rida sold 467,000 units in a single week. There were 27 digital singles that sold more than 100k units in that week. The obvious trend continues that people are ready, willing and able to buy singles of songs they like.

So the question arises, why don’t artists serialize the release of songs ? Why not create a “season” of release of songs, much like the fall TV season and promise fans that Flo Rida is going to release a new single every week or 2 weeks for the next 10 weeks?

Serializing the release of music also allows for the marketing arms to be in constant touch with sales and radio outlets. Rather than having to initiate marketing plans and hope to reinvigorate the interest in an artist, it becomes a digital tour that never ends.

Definitely an interesting solution. I would like to see someone try this.

The Album is Dead… - Blog Maverick

Gerd Leonhard: The New ‘Sell’

Thanks for this Gerd, I think it sums it all up very nicely…

The New Sell
Conform and do it, or you face extinction!!

MediaFuturist: 3 Hidden Trends in 2008 - eMarketer (Future of Advertising)

Saul Williams Isn’t Disheartened | Tech News Blog - CNET News.com

So much great stuff in this Saul Williams interview… It’s hard to select just one quote to frame it all.

CNET: Trent talked about how happy he is that your music is in more iPods than ever before.
Williams: To me that’s the real deal. That’s how I see it. And that’s what leaves me not feeling disappointed because we all know that artists earn the most from touring. So it doesn’t work against me giving it away free to so many listeners. The more people that are into it, the more people that say ‘I got to see this live.’

Now, go read the entire interview.

Unlike Trent Reznor, Saul Williams isnt disheartened | Tech news blog - CNET News.com

Gerd Leonhard: Making Money AROUND The Music

Seth Godin: Music Lessons

Marketing guru Seth Godin weighs-in on lessons learned from the music business (as it falls apart)…

…the music business built huge systems. They created top-heavy organizations, dedicated superstores, a loss-leader touring industry, extraordinarily high profit margins, MTV and more. It was a well-greased system, but the key question: why did it deserve to last forever? It didn’t…

Seth Godin: Music Lessons

Labels See New Online Music Options

Labels See New Online Music Options - AP News via WIRED