An exercise in perspective

I wrote this today for a list that’s mostly populated by folks in overlapping music, broadcasting, legal, tech, and other businesses who share a common interest in what’s happening to the arts and artists they care about in a world now turning almost completely digital.—Doc

Here is a question I hope can get us out of our heads, our histories in the businesses (music, broadcasting, entertainment, publishing, law, pick-your-art), and up past the 30,000-foot level, out into space, so its possible, at least conceptually, to see the digital world that now coexists with the physical one, but with completely new blessings and curses that may have little to do with the physical world models that operate with and under it—and free from the legacies of which we carry with us when we try to understand it and do business through the physical-world framings we have always known.

Most of all, let’s try putting our minds outside the supply side of the marketplace, with all its incumbent mechanisms and rules, and where all of us have operated for the duration. We’re in space now, looking down on the digital and physical worlds, free to see what might be possible in these co-worlds that we can’t see or imagine because we’ve been surface dwellers on the physical one for the duration.

Now try visiting this question: As a consumer or customer (not all the same) of artistic goods, what would you be willing to pay for them if payment was easy and on your terms and not just those of incumbent industries and their regulatory frameworks?

For example, Would you pay the recording artists, performers, producers, and composers the tiny amounts most of them get from a play on Spotify, Amazon, YouTube, Apple Music, Pandora, SiriusXM, a radio station or indirectly through the movies or TV shows that feature those goods?

Try not to be mindful of standing copyright regimes, deals made between all the parties in distribution chains, and subscription systems as they stand. In fact, try to put subscription out of your minds and think instead of what you would want to pay, value-for-value, in a completely open marketplace where you can pay what you like for whatever you like, on an á la carte basis. Don’t think how. Think how much. Imagine no coercion on the providers’ side. You’re the customer. You value what you use and enjoy, and are willing to pay for it on a value-for-value basis.

To help with this, imagine you have your own personal AI: one that logs all the music you hear, all the programs you watch, all the podcasts you listen to, all the radio you play in your car, and can tell you exactly how much time you spent with each. Perhaps it can tell you what composers, writers, producers, labels, and performers were involved, and help you know which you valued more and which you valued less. (Again, this is your AI, not Microsoft’s, Google’s, Facebook’s, or Apple’s. It works only for you, in your own private life.)

Then look at whatever you’re spending now, for all the subscription services you employ, for all the one-offs (concerts, movies in theaters, bands night clubs) you also pay for. Would it be more? Less? How much?

The idea here is to zero-base the ways we understand and build new and more open markets in the digital world, which is decades old at most and will be with us for many decades, centuries, or millennia to come. It should help to look at possibilities in this new non-place without the burden of leveraging models built in a world that is physical alone.

I submit that in this new world, free customers will be more valuable—to themselves and to the marketplace—than captive ones. And that sellers working toward customer capture through coercive subscription systems and favorable regulations will find less advantage than by following (respecting Adam Smith) the hand-signals of independent customers.

We don’t know yet if that will be the case. But we can at least imagine it, and see where that goes.