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October 11, 2007 9:24 PM PDT

Radiohead has become a verb

by Tim Leberecht
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"In Rainbows" is out, has reportedly already sold more than 1.2 million copies (which would dwarf sales of each of the past three Radiohead albums), and fans and critics alike are in awe. The music is great, of course, but the band's biggest accomplishment is probably that it has turned music into a global event again. Album releases had become somewhat trivial in the age of iTunes -- and now the buzz around "In Rainbows" created this big, meaningful moment of mass-togetherness.

The Spacelab blog nails it: "So now the world listens. October 10th was Radiohead day. The end effect, possibly not even anticipated, was that there was a simultaneous listening-happening as people all over the world downloaded and listened."

Radiohead has become a verb ("did you radiohead?"). The band has not only established a new business model; it has re-established the trust between producer and consumer in the music industry. Offered for free, music suddenly holds value again. Radiohead has proven that innovation is art and that art can be innovation.

October 2, 2007 11:04 PM PDT

Radiohead: music for nothing

by Tim Leberecht
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(Credit: Salon)

Now here's an innovation: "music on demand," in the truest sense of the meaning. Radiohead, the juggernauts of intelligentsia rock, announced that they will give away their new album "In Rainbows" as a download for whatever price consumers are willing to pay. The band is free to sell the new album directly from the official website because it is no longer tied to a record label. So far, the album is only available to pre-order, but it can be downloaded when released on October 10.

It's not the first time that an artist or group has opted to charge nothing for an album (Prince, for example, gave away a whole record as a supplement in a newspaper), but the move is significant: Radiohead is one of the biggest bands in the world, and the self-distribution model could inspire other artists. It is is interesting from both a moral and economic perspective: As for the former, the band obviously relies on the "invisible hand," the self-regulatory forces of the market, to determine a fair price at the intersection of supply and demand, production value and perceived value. Radiohead trust that their fans follow an intrinsic moral imperative, ignoring possible "they're millionaires anyway" concerns and paying an appropriate fee for what is usually a superb artistic performance. Most people will probably just follow the pack, and it would actually be interesting if the Radiohead website showed in real-time the latest average price paid.

From an economic viewpoint, Radiohead's decision is far less radical than it may appear. First of all, the biggest chunk of revenue for them will continue to come from touring, merchandising, and copyright payments. Giving away the album for any amount won't really hurt them, even if no one pays a cent. But that won't be the case: The New Musical Express has conducted a poll among UK fans, and from those responses the band is making an average of £5 per album. There is some debate going on about the break-even: Salon claims it's $1.50 per album.

In any case, it's a nimble PR move, creating a side story the media (and bloggers like me) can pick up. Plus, it's smart marketing. Through the download offering, the band will build a pool of registered users as potential targets for future marketing campaigns.

Ps. In case you wonder: I would have paid hundreds of dollars for Radiohead's landmark "OK Computer" album. For this new release, coming after a long period of (radio) silence, I think I'd pay, let's say, $20. And you?

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About Matter/Anti-Matter

Tim Leberecht and Adam Richardson both work for Frog Design, a consulting firm specialized in designing innovative products and services for Fortune 500 clients. On the Matter / Anti-Matter blog, they engage in a debate around questions they face day-to-day in their work, using convergence/divergence as a lens through which to look at the pressing issues in business, culture, and technology. What makes a successful convergent product or a successful divergent innovation? Is convergence a myth that users don't really care about, or is the current state of convergence just not satisfying enough for them to embrace? How much divergence of innovation is good, and when does it just become confusing? How do you stay on top of people's ever changing needs and wants?

They are members of the CNET Blog Network and are not employees of CNET.

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