Trust me, I’m about as skeptical as they come about the ability of the big record labels to adapt here. They’ve shown a long-term pattern of missing nearly every opportunity.

But I’m encouraged by what Ethan’s been doing, as well as some of the stuff percolating out of EMI. Universal, on the other hand…

On the question of whether or not there is a business for the major record labels, the answer is absolutely yes. As I keep repeating, every single aspect of the music business outside of selling plastic discs has been growing over the last few years, and that represents a huge opportunity — including for the major record labels.

The market is getting *bigger* if you define the market properly. Hopefully Ethan and crew can help WBR capture a sufficient portion of that market.

I like what Mike said in closing: “And, if it does, it won’t be about you “paying for music.” It will be about you paying for something that you can’t get elsewhere and can’t get for free.”

Good point, Mike. I’m just curious to see if a record label like Warner can sustain itself when the casual fan is no longer paying for anything. It sounds like a fair chunk of their business is based on die-hard fans paying for something more than the music.

The focus within the actual industry (instead of those that just arm-chair music punditry *ahem arrington*) is not so much about artifact, but about how to create an economy around music that supports and nourishes its own creation.

To think just about “how to get a person to pay for a song” is too narrow. Music DOES have value. The iPod proves that. The proliferation of sat radio proves that. The Sonos, Hype Machine, etc prove that.

The problem isn’t the value of music, its that the hardware/software/web companies have made experiences which are of greater value than the content to which they are a conduit.

That is my focus (and consequently the tech department at WBR). How to create compelling experiences that inherently provide value to the content (music, videos, etc) that make that experience possible.

Plus its also about the reduction back into the art (ahem). Basically stepping back from the singularity of just a Song and back to the Artist and what they can and do produce (not just music)

See supernaturalsuperserious.com, missionmetallica.com, ninetynights.com, etc.

That may or may not involve you paying for music.

And, if it does, it won’t be about you “paying for music.” It will be about you paying for something that you can’t get elsewhere and can’t get for free.

Plus there is much more product besides simply the tracks that can be taken advantage of.

On another note, I was talking to you on Twitter about sending you my resume, what is your email address I should use?

So here’s the question, extended: aside from a few artists I’m a diehard fan of, why should I ever pay for music again? I used to pay for music, but the free, illegal product quickly became just as easy to obtain (if not easier) than the legal product, often of comparable quality.

I understand the music industry is going to make money regardless, but surely YOU (meaning all the labels, big and small) have a plan to get the casual (emphasis on casual) listener to start paying for legal music again.