The tales of the music industry and its war against technology and its customers have served as fertile ground for this blog. Ironically, my first "real" post a year ago Sunday featured research that proved free music actually increases total sales.
This week I've got to bring back this classic tune of an arrogant monopolist that pushed its customers too far - as reports show a dramatic, +20% decline in CD sales in the first quarter of 2007. The only question at this point is what will replace the historic recording industry, because consumer power and technology have run too far ahead of monopoly control.
To recap previous posts here and here: since its inception, the music industry has held monopoly power over artists and distribution points through exclusive contracts, favorable trademark legislation, and concentration among a handful of competitors. With each historic technology change, consumers were forced to upgrade their music collections - from records to 8-tracks to cassettes to CDs. Monopoly power and technology improvements became a predictable profit stream with little additional development costs.
But the convergence of disc burners, Internet access and iPods has mucked up the playing field for the recording industry. Instead of upgrading to a new catalog of music, consumers simply burned CDs to hard drives and began swapping files. Even sub-CD-quality mp3 files were good enough for most listeners, and new gimmicks like DVD-Audio were bypassed. Smart software on iPods allowed us to program our own radio stations, and Internet and satellite stations provide commercial free access to any niche our heart desire (for example, I am listening to Sky.FM's Modern Jazz as I type).
The industry has done everything from sue its customers to secretly installing spyware. Is it any wonder their sales are down dramatically while consumers are probably listening to more music than ever before? (take a walk down any city street to test this).
And despite the growth of iPod sales and success of iTunes' billionth song sold, the increase in download sales has not offset the overall music decline. Some of this is due to highly-restrictive Digital Rights Management (DRM) software that limits the use of downloaded songs. While free market visionaries like Steve Jobs are willing to give up monopoly profits and drop DRM for the good of the overall market, the recording industry continues to fear evolution and anger its customers.
This week an amazing insider story on the recording industry's push for tighter controls on legal music came from a talk by Bruce Lehman at McGill University (starts at 11:00 on Google Video). Lehman was the driving force behind the creation of modern DRM in the Digital Millennium Copyright Act. In this retrospective speech he admits that:
- "Our attempts at copyright control have not been successful."
- "We are entering a 'post-copyright' era."
- Many people have lost respect for copyright law...because of the failure of the recording industry to adapt in the 1990s.
Net, the author of legislation that gave the recording industry more power suggests that this power led to a failure to adapt and innovate. This power corrupted absolutely, and the protection from challenge drove a failure to improve. Case closed.
But even without DRM and monopolistic record labels, would the music business be faced with revolution anyway? Music thought leader Bob Lefsetz argues that today's musicians break the mold because they willingly give their music away for free just for the benefit of reaching people and pursuing their art. Wow, that's refreshing!
I am not sure where the music industry is going, but I am convinced that it is already far beyond the tipping point of major change. It is another case of Challenge Dividend theory becoming fact.
UPDATE: Monday, April 2, 2007 - Apple and record label EMI agree to sell songs without copy protection for a premium price of $1.29 (vs. $.99). This is interesting in a few ways:
- Apple has done more than talk a game, they made change happen.
- EMI went for the deal because it is the smallest record label - they have the most to gain and least to lose, so they took the leap to innovate. EMI's larger challenge led to a larger innovation.
- The $.30 premium is fascinating - this is not cost-based accounting, as a protected download costs the same to make as an unprotected one, but shows that there is more consumer value in unrestricted music, so might as well charge for it. This could be a standard pricing arrangement for all unprotected media going forward.