Soso Free Music (in China…)

So today’s big news in the digital music realm is that Google will start offering links to free music download sites—but only in China. Check out The New York Times coverage and the article’s comments, like this one:

“When 99% people are not paying for music, you can’t simply accuse all of them as pirates.”

It seems like Kodak could learn a think or two about how free is the key. I guess we’ll see how this all pans out over time for the rest of the world.

What’s more, and somewhat along these lines, today I also had a moment to delve into Miller Theatre’s (a music presenter, mind you) web stats. I was initially amazed to see that a good chunk of our web traffic is from China. (This is not necessarily in sync with our in-person audience demographics.)  And that Soso Music is a big referrer to us. But now, after learning a little more about internet use and music popularity trends in China, maybe I shouldn’t be surprised at all. Fascinating.

In Rainbows = Pot o’ Gold

I’ve been thinking about the Grammys all day and must ask: Why didn’t they recognize Radiohead‘s pay-what-you-want In Rainbows a bit more?

(At first I was surprised that it was in this year’s running, but I learned that it was because the album’s “hard copy” was released on January 1, 2008. But they didn’t talk about the digital release last year much either…hmm…)

Many organizations, such as the Metropolitan Museum, have taken this route for years—and they’ve found long-term sustainability in not quantifying the arts. Judging by the fact that I rarely see anyone at the MET without their colored aluminum tag “en lapel,” people are not willing to be perceived as cheapskates even though the minimum donation is merely “suggested.” 

This leads to why I am proud of the outcome of Radiohead’s “little” experiment. No one knows if you download In Rainbows for free—there’s simply no shame in it. But most people paid anyway, affording the music makers viable compensation for their work.

Distribution costs are out. Perfect infinite copies are in. People know this and so I’m also not surprised to read that as many as 60% of listeners may have downloaded for free. If 60% of something in the traditional model was stolen that would be a problem. But in this model, so what? The option was provided to do so and the band-mates were better off in the end anyhow.

I’m not arguing that it should have won album of the year; I did not even listen to all the options.

However, I might argue that it was downplayed during the awards ceremony out of fear. General fear of the content-makers who bravely turn away from “this decaying business model.” And fear by those struggling to run the show that soon there will be no need for music categories when everything is blurring anyway, televised “live” performances that can be rewound with DVRs over and over, or high-brow awards when public rankings and reviews are what mean the most to consumers in the end.

So, thanks for sharing, Radiohead (because I know you’re reading this).

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Note, added 2/11/09: So the video at the top of this used to work…case in point!