scarce goods

Over the last few weeks, we've noticed a few of our usual critics attacking the basic claims concerning successful music business models, because some of the bigger concert tours this past year ran into trouble, and because some of those tours seemed to realize they were charging too much.

Of course, it's unfortunate when people misunderstand basic statistics and what data shows. First of all, we've never claimed that concerts were the only way to make money in the music business.

Hypebot points us to a great post on the new blog Pirate Verbatim, which posts quotes from various musicians about their thoughts on "piracy." One recent post is from musician Phil Elverum, of the bands Mount Erie and also The Microphones.

Last year, we wrote about a fascinating "art" project, called "Significant Objects," that involved a bunch of writers buying up random cheap/worthless trinkets, but then listing them on eBay along with a creative (fictional) story about the object.

The "story" was given away for free, but the object cost money.

Lots of people have been sending over the blog post by the CEO of book publisher Macmillian, John Sargent, trying to explain the company's ebook plans, following all the hubbub over its fight with Amazon.

Whenever someone criticizes the music industry for their stubborn refusal to accept new business models (and the subsequent pressure on governments and ISPs to police the end users because the industry is not making as much money as it used to), the question that inevitably pops up is: what are these new business models?