Comments on: How to Save the Music Industry

By: UK politics, media, blogging UK politicsUK politics, media, blogging UK politics Plenty2say

Mon, 30 Nov 2009 08:41:57 +0000

[...] a bold move because most news, comment, opinion on the net is free. It does raise the issue about what content is valuable, and what [...]

By: Freelance Unbound» Blog Archive » Should media sites ditch low-value readers?

Sun, 29 Nov 2009 11:13:06 +0000

[...] another sector, Michael Castello on mistypedURL has written a really interesting post on how we could save the music industry in the age of the download and peer-to-peer data [...]

By: Paying Attention to Filesharing | mistypedURL

Paying Attention to Filesharing | mistypedURL — Tue, 03 Nov 2009 13:37:58 +0000

[...] true way to build a successful business model in a sharing-centric culture is to market unique, non-replicable things to fans. To move forward in the long-term is to stop marginalizing [...]

By: Polprav

Polprav — Sat, 17 Oct 2009 13:05:04 +0000

Hello from Russia!
Can I quote a post in your blog with the link to you?

By: ‘Sell music, not copies …’

‘Sell music, not copies …’ — Wed, 14 Oct 2009 22:49:56 +0000

[...] could connect and share what they loved on- and offline,” writes Michael Castello on his mistypedURL [...]

By: SteelWolf

SteelWolf — Wed, 14 Oct 2009 11:17:41 +0000

Y’know how Keidis (for example) could “connect with his fan-base?
After the 60-dollar a ticket arena show, rent out a local bar or something, and have a “meet-and-greet” for the really hardcore fans. That way, you’re not just getting the guy’s signature, but you’re getting the opportunity to hang out with him.

Brilliance right there.

By: Henry Emrich

Henry Emrich — Wed, 14 Oct 2009 01:49:25 +0000

What everybody forgets in debates like this, is that even with current copyright laws, there’s still a huge “secondary market” where the copyright-holder doesn’t get paid. Every time I buy something “used”, nobody but the person I bought it from gets paid.

This is especially important to realize, given the fact that if an album has been out for any length of time, it’s going to end up “competing” against “used” copies of itself.

Does any of that actually make sense?

Another thing that needs to be asked in regard to major-label musicians complaining about p2p is: How can you be multi-millionaires and *still* be strapped financially to the point where you need to complain about the (illusory) specter of going broke because of p2p? Should’ve invested better. For my part, the *lower* one is on the socioeconomic ladder, the more legitimate financial complaints become.

Because ultimately, Michael Jackson and other big-name celebrities AREN’T connecting with their fan-bases in any meaningful sense of the word, no matter how many CD’s or downloads they sell.

That’s one of the best aspects of the p2p revolution — the opportunity to re-evaluate “fame”, and how we relate to “celebrities” as a culture.

By: SteelWolf

SteelWolf — Tue, 13 Oct 2009 13:57:11 +0000

People like Anthony Kiedis can already sell out 30,000-seat stadium for $100 a ticket. For people who are already established and looking to continue earning in the 21st century, this is one way to go. It’s always about having different tiers of “reasons to buy.” Being more famous with thousands of fans just means there is more room for tiers on the upper end. Think about how much a lifelong Kiedis fan would pay for an album signed personally to him.

By: Drew K

Drew K — Tue, 13 Oct 2009 13:43:36 +0000

Some nice ideas here Michael. Only concern here is that the sale of unique experiences may not scale in the way required for today’s music industry – I cannot imagine Anthony Kiedis trying to engage with his entire fan base in way or attempt to provide shout-outs to them all either.
This may be more successful when the fan base of a given artist is smaller or more localized which I would suggest is a great outcome for everyone anyway – more artists with moderate success rather than today’s few with mass success …
D