Man Bites Dog
It turns out that mp3s are a poor substitute for CDs, and that people are downloading music that they would not have bought in a store.
Thoughts on human interaction over the next 25 years
Unlike brick-and-mortar record stores that deal mostly in full-length CDs, the Internet stores focus on songs. At iTunes, single downloads are outselling albums roughly 15-to-1.A more plausible reason than a general degredation in people's mental ability (especially those darn young people!) is that singles offer better value than albums, so why not get those instead (note -- albums provide better value than singles for CD shops because of physical distribution costs, but online it's different).
"It's a song economy now," says iTunes spokesman Chris Bell. "Consumers have come to expect it through illegal file sharing and CD burning, and we're making sure every song is available for individual downloading."
The company's slogan – "iTunes is designed for instant gratification" – points to the biggest reason why albums may be withering. With attention spans shrinking and music outlets multiplying (on TV, satellite radio and in cyberspace), people aren't as willing to sit through an entire album as they were in the past.
Some high-profile musicians insist that the album – not the song – is the be-all of pop music, and they argue that fans shouldn't be able to carve random pieces off an album any more than readers should be able to buy one chapter of a book.The idea that the artist has some sort of inalienable right to his work, a right which cannot be sold, actually has some legal teeth in Europe where it is referred to as an artist's "moral right". IIRC, under "moral rights" you could not buy a painting off an artist and then modify the painting by, say, touching it up with a markerbelieveeive that some artists feel that their moral right extends to the frame the painting comes in. Needless to say, artists can add whatever clauses they wish when selling their work, but the law establishing an inalienable right, which cannot be bartered away, impoverishes artists who don't give a damn what frame their painting is in, especially if that means they can get the buyer to pay a little more for it. Or musicians who don't care if their work is sold as singles, or in album sized blocks.
"We have to be the ones who decide what happens to our music," says Lars Ulrich of Metallica. "We conceive entire albums, and I'm not gonna give it to you in any other form than the one I conceive. ... You can dissect it after that if you want, but at least you have to respect our choice."
Buy the Sony CyberShot U30 because it’s really, really small. It’s smaller than my wallet, smaller even than a cell phone, which means I carry the camera in my pocket at all times. This is the whole point of having a digital camera: the film is free, so you want the ability to take a picture of anything at any time. When you get down to it, size is all that matters in digital cameras. This is because most digital cameras are about the same in other criteria.Simple. Clear. Hard to argue with. (Also check out his excellent Zagat-esque Wiki Add Your Own. The Boston section is thin, but so is its restaurant scene.)
But the Internet has changed all that in one crucial respect that wouldn't surprise Coase one bit. To an economist, the "trick" of the Internet is that it drives the cost of information down to virtually zero. So according to Coase's theory, smaller information-gathering costs mean smaller organizations. And that's why the Internet has made it easier for small folks, whether small firms or dark-horse candidates such as Howard Dean, to take on the big ones.Let's begin with Coase. Coase's primary insight on "The Size of the Firm" was that costly transactions may be easier to do in a centrally planned economy (a company) instead of a market economy. Note that the Internet means smaller companies -- lower information transaction costs do just as much for a large company's internal efficiency as it does for a small company's ability to compete. Ron Coase understands things that remain perfectly opaque to Everett Ehrlich, who perpetrated the article.
For all Dean's talk about wanting to represent the truly "Democratic wing of the Democratic Party," the paradox is that he is essentially a third-party candidate using modern technology to achieve a takeover of the Democratic Party. Other candidates -- John Kerry, John Edwards, Wesley Clark -- are competing to take control of the party's fundraising, organizational and media operations. But Dean is not interested in taking control of those depreciating assets. He is creating his own party, his own lists, his own money, his own organization. What he wants are the Democratic brand name and legacy, the party's last remaining assets of value, as part of his marketing strategy. Perhaps that's why former vice president Al Gore's endorsement of Dean last week felt so strange -- less like the traditional benediction of a fellow member of the party "club" than a senior executive welcoming the successful leveraged buyout specialist. And if Dean can do it this time around, so can others in future campaigns.