The New Economics of Music: File-Sharing and Double Moral Hazard : Part 1: Why the Music Industry is (Really) Broken

Thursday, October 28th, 1999

‘The whole point of digital music is the risk-free grazing’ – Cory Doctorow

Every major label ’s setting up an iTunes these days. They’re all, in the immortal words of Johnny Cash, ‘born to lose, and destined to fail’. Why? The music industry doesn’t understand the microeconomics of it’s own business. If it did, it would see that it’s business model is not just misguided, but broken- because, DRM or not, the implicit contract it signs with listeners is being broken in both directions.

I reached this conclusion because, as I was scoping BoingBoing one day, I read Cory’s statement, and it struck me as exactly right. For many people, digital music’s more about risk than it is about music itself. Not legal risk – but transactional risk, the kind of risk you take when you buy a used car. Now, this statement has deep economic meaning. I’d like to explain why.

Fundamentally, I’m going to argue that consumers download music, as much to derive extra value from getting something for free, as they do because they want insurance against buying something they didn’t want in the first place. File-sharing is as much about risk-sharing as it is about the ‘theft’ of value. Technological changes have made this possible – but the way the business model of the music industry is at odds with the implicit contract it signs with listeners is what makes it probable. [more @ www.bubblegeneration.com]

The New Economics of Music:File-Sharing and Double Moral Hazard Part 2: Fixing the Business Model

Thursday, October 28th, 1999

What we’ve discovered so far are two critical things: First, the implicit contract between the principals and the agents in the music market, far from creating the right incentives, in fact produces a moral hazard – because it doesn’t take into account problems in monitoring the record industry. Second, technology has allowed music listeners to take matter into their own hands, creating a double moral hazard.

Does understanding this help solve the record industry’s problems? Yes – in a major way. If the record labels can’t resolve the information asymmetries that let it operate under extreme moral hazard, and that cause listeners to retaliate with their own moral hazard, it should do exactly what these economics suggest: provide listeners with insurance. Of course, it would be better if the industry could resolve these information asymmetries, but I’ll leave that for another time. [more @ www.bubblegeneration.com]