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AUGUST
few months ago, the UK law firm and research company
THE ATTENTION ECONOMY Olswang released a new report called The Impact of Social
AND THE MUSIC INDUSTRY.
Networks on Music Commerce. I have had the PDF on my
desktop, marked in red, for a long time, and I finally got to
dig into it today.
on
With kind permission of Olswang *Lond
THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY
Olswang continues:
on
With kind permission of Olswang *Lond
doing it with Kindle, their new book-device that has the con-
nectivity already included.)
It will no longer matter where and how the purchase hap-
pens, and whether any new friction can be interjected to shore
up that good old scarcity paradigm. All that matters will be
who gets the clicks and who does not — getting and retaining
attention is the new mission; distribution is simply the default.
Friction is Fiction.
THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY
Cru- tion obsession, format wars, territorial restrictions, and licens-
cial- ing turf wars. Ouch! Talk about a dysfunctional ecosystem
l y , — this is winning the grand prize, in my humble opinion.
the
dis- Russell Hart, Chief Executive of Entertainment Me-
cov- dia Research commented: “Social networks are funda-
ery mentally changing the way we discover, purchase, and
i s use music. The dynamics of democratisation, word of
mouth recommendation, and instant purchase chal-
on
With kind permission of Olswang *Lond
lenge the established order and offer huge opportunities
to forward-thinking businesses.”
John Enser, partner and head of music at Olswang,
says: “The music industry needs to embrace new op-
portunities being generated by the increasing popularity
of music on social networking sites. Surfing these sites
and discovering new music is widespread with the latest
generation of online consumers but the process of actu-
ally purchasing the music needs to be made easier to
encourage sales and develop this new market.”
translating into changing purchase behavior. of so- My comment: Record labels: Are you really listening?
cial network users claimed it has a “big/massive impact” I am going to stop here as you can read the rest on the
on the way they purchase music and state that they Olswang site, but here is one more morsel that must be
“regularly/occasionally” buy CDs or downloads of mu- shared:
sic that they discovered on a social network site. This
rises to of MySpace users. However, more needs to Enser says, “As illegal downloading hits an all-time high
be done to make purchasing this music easier, with and consumers’ fear of prosecution falls, the music in-
of respondents agreeing with the statement “I wish it dustry must look for more ways to encourage the public
was easier to purchase music that I find on these sites.” to download music legally. Variable pricing models and
DRM-free music, which would allow consumers legally
My comment: I think it is shockingly pathetic how little the to transfer music to other devices, were popular among
record industry has done so far to harvest the fruits of this enor- respondents and represent new ways of enticing people
mous interest in music. People are totally interested in music, away from breaking the law.”
but until now the industry has only done its utmost to deter
the interest, with impossible commercial terms, copy-protec-
THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY THE ATTENTION ECONOMY AND THE MUSIC INDUSTRY