Australian Recording Industry Continues To Fight The Technology That Is Saving It

There have been many posts on Techdirt about the copyright industry's hatred for new technologies that eventually turned out to be important sources of additional revenue -- the VCR being perhaps the most famous example. Here's a splendid column from Adam Turner in the Sydney Morning Herald about the same thing happening again in Australia. 

On Techdirt.

Pig-headedness, not Piracy, Killed Recorded Music

An extremely feeble article in the Guardian parrots the recording industry's line that piracy is killing music:

Global recorded music sales fell by almost $1.5bn (£930m) last year as digital piracy continued to take its toll on the industry, with the UK losing its mantle as the third-largest music market after "physical" sales of CDs collapsed by almost a fifth.

Sorry, I think I missed the proof that this fall was *caused* by piracy: any evidence? No, I thought not. Whereas there is growing research that unauthorised sharing actually increases sales (see the list of examples and links in this post.)

Perhaps the problem is rather that the sales being driven by this unauthorised sharing just aren't being generated fast enough to compensate for the overall decline in the recorded music industry. After all, there's nothing that says it must always grow. Maybe people are just fed up with its antics now that there are plenty of other kinds of music available (under cc licences, for example.)

In fact, there's a rather telling graph that the IFPI has kindly provided. It shows, of course, the decline in total sales of recorded music, breaking it down by "physical", "digital" and "recorded rights". The last of these is pretty much constant, while digital is growing at a modest pace.

But as is so often the case, this graph tells us something quite different from those "obvious" figures - and something rather interesting: that digital sales didn't really exist before 2004.

Thank about it: it took five years after Napster was created before the recording industry finally began to acknowledge the existence of a revolution whose inevitability was obvious to anyone who had spent a few hours online. Is it any wonder that people got fed up with the exorbitant pricing and inconvenient packaging of CDs, and despaired of ever being treated fairly with reasonably-price downloads?

In effect, it was the industry's pig-headed refusal for half a decade to sell people what they wanted that has driven users away. If some - even many - of them turned to unauthorised downloads, is it really any wonder? So before we blame the pirates, how about a word or two for the owners of those heads?

Follow me @glynmoody on Twitter or identi.ca.

Welcome to the Troll Economy

It began, perhaps, with SCO's insane attempt to obtain money from IBM and others for alleged infringements of its code. It proceeded with the music recording industry's increasingly vicious but fruitless threats to ordinary users, expanding more recently into the film business. Now, the Troll Economy has now come to the world of words:

Borrowing a page from patent trolls, the CEO of fledgling Las Vegas-based Righthaven has begun buying out the copyrights to newspaper content for the sole purpose of suing blogs and websites that re-post those articles without permission.

Strangely, perhaps, I think this is a great development. As the world of music shows, once rights-holders start making unreasonable demands, the implicit compact with the public is broken, and people no longer respect a copyright system that does not even attempt to treat them fairly.

The Troll Economy will simply lead to more people rejecting intellectual monopolies altogether, sowing the seeds of its own destruction. Troll away, chaps....

Follow me @glynmoody on Twitter or identi.ca.

Music to My Ears

There's a fascinating story over on BBC News, nominally about Madonna, but really about a new commons. It reports on how concerts are becoming ever-more important to rock stars, as sales of their recordings diminish.

The latter fact may be due to the Internet; but whether it is or not, the future seems to be one where the digital stuff - the song - is essentially free, and the stars make their dosh from the analogue side - concerts. So here we have pop songs as a new commons, where the creators of that commons make a more than decent living.

Two quotations in particular are worth noting. One is from Alan Krueger, an economist, who provides the figures to back up this idea:

Only four of the top 35 income-earners made more money from recordings than live concerts. For the top 35 artists as a whole, income from touring exceeded income from record sales by a ratio of 7.5 to one in 2002.

The other is from the ever-perceptive David Bowie:

music itself is going to become like running water or electricity

Now that's music to my ears.