Showing posts with label iTunes. Show all posts
Showing posts with label iTunes. Show all posts

Wednesday

Wal-Mart vs. iTunes


Wal-Mart, the world's largest retailer, announced Tuesday that Wal-Mart Music will now sell music sans copy-protection, also known as DRM (Digital Rights Management). This is a mimicking move to iTunes, who began selling DRM-free music earlier this year.

Traditionally, iTunes charged $0.99 per song. Their new, DRM-free music has been sold at $1.29 a track. Initial reactions to this move have been positive from nearly every consumer, while labels (still stuck in the past–but that's a different story) continue to fight change.

CD sales have been on a continuous downward slide over the past several years, yet the digital music industry has been booming. iTunes is now the third largest music retailer in the United States, behind Wal-Mart (15.8%), and Best Buy (13.8%) with 9.8% of the market.

iTunes did not enter the music retail category as an also-ran. They created the category of digital music retailer. As Tom Peters once wrote, "They say, 'market share.' I say 'market creation.'"

When a brand enters an established category, they must contend with powerful category leaders. When a brand creates a new category, they have no competition, thus becoming the category leaders. Their task, then, becomes creating the new category, rather than trying to dislodge consumers from already well-established brand leaders.

In 1923, a survey was conducted of the top 25 brands. In 1983, the same survey was executed. 23 of the top 25 brands were the same. 19 of the top 25 brands from 1923 still held their leadership position in their category.

What does this mean? Minds don't change; leader's lead. To enter a well-established category against mature category leaders is maniacal and suicidal. And yet, everyday, thousands of companies across the U.S. do exactly that.

Apple is far more adroit than most brands. They took hold of the emerging digital music trend. In 2001, they launched iTunes, becoming first to the market, and, more importantly, first in the mind. Now, in the digital music retailer category, iTunes owns 70% of the market.

iTunes imposed their new category, digital music retail, on the existing category, music retail. They did as Dell did: change the distribution medium.

Their new category went from a 0% market share in 2001 to 14% in 2007. Not bad, considering that the music retail market runs an annual tab of nearly $4.8 billion in the United States alone.

In 2003, Wal-Mart launched their also-ran Wal-Mart Music. At the time, the retailer held 20% of the music retail industry. Wal-Mart Music, despite costing $0.88 per song (a full $0.11 cheaper), has had almost no impact on iTunes’ numbers.

Now, Wal-Mart will sell their DRM-free offering for $0.94, a whopping $0.33 cheaper than iTunes.

Wal-Mart stands for low-prices retail store, not digital music. Even the power of the Wal-Mart name is not enough to save them in the digital music arena.

"Wal-Mart has been behind on the issue of digital music," said Tim Bajarin, an analyst with Creative Strategies. "Making this move allows them to leapfrog to the front."

But does their price-cutting strategy really give them an edge? No. In the long run, history drastically favors iTunes. Wal-Mart’s move will only serve to call more attention to iTunes’ category leadership and DRM-free sales.

If people bought music were a commodity, such as eggs, then Wal-Mart Music’s price-cutting strategy would have iTunes in a heap of trouble. But music is hardly a commodity.

And therein lies one of the greatest powers of proper positioning: premium pricing. Improperly positioned, a brand faces market rate growth and commodity pricing.

Without a strong brand, iTunes would never have taken such a large share of business away from related categories, and they would certainly never stand strong against the onslaught of me-too competitors such as Real Rhapsody, Napster, and Wal-Mart Music.

And, just for fun (it seems), Amazon has put their hat into digital music ring. It appears that Jeff Bezos is suffering from severe delusions of grandeur, or rather, “delusions of brandeur.”

Jeff once said, "A brand for a company is like a reputation for a person. You earn reputation by trying to do hard things well." No, Jeff, you don't. The quarterback doesn't earn a positive reputation by trying to do math well, he earns a positive reputation by throwing the ball well and scoring touchdowns. Perhaps that is why Amazon sells digital music now, too.

Wal-Mart=low-price retail store
Amazon=online bookstore
iTunes=digital music

Wal-Mart and Amazon making digital music stores makes as much sense as iTunes selling laundry detergent and shipping hardcover copies of Harry Potter. Pretty insane, yes? Yes.

Friday

Brand Buzz: Exclusivity

What does one do when their radio playtime is down on their "hot" new single, which is supposed to get everyone excited about your new album? If you're Talib Kweli, you begin a PR campaign to generate buzz about your album.

With the advent of the MySpace revolution, Talib and his label, Blacksmith Records, are taking full advantage of the online community. This is truly empowered interactivity.

1. TUNES: New songs have been released on his MySpace page. Users can comment on the songs, rate them, and even add them to their own MySpace page. New singles are released for purchase after a while on iTunes.

2. BLOG: Both his home and MySpace page link to his blog.

3. VIDEOS: Video premieres are announced ahead of time, generating excitement, and launched from YouTube. The benefits of YouTube are endless. Suffice it to say that YouTube makes videos very viral (easy to spread), allowing blogging, posting, embedding, emailing, and a ridiculously large amount of other interactivity features.

4. BULLETIN BOARD: Talib's homepage features a bulletin board. People who love and support his music provide free hype about Kweli. Buzz marketers take note.

5. INTERACTIVITY: An album art generator has been developed that gives fans a new level of ownership and interactivity with Talib, creating their own printable spec album covers for the upcoming release of Eardrum. This program makes people stop and interact with the web page. It's a surefire bet that anyone who clicks on the Flash animated link will spend five minutes playing with album art combinations. Five minutes! Try to get five minutes of a person's time with a billboard or a TV commercial! Impossible!

6. SECOND LIFE: Fans can interact with Talib on Second Life, the popular new program akin to The Sims, but in the real world with real people (including famous musicians and actors). This type of real (second) life connection really energizes brand believers, and it encourages them to spread the word of Talib's brand.

7. NO SHOW: Talib has seemingly gone underground. He has only one posted show, which won't take place until March. Less is more.

8. EXCLUSIVE: An online release of a FREE album is amazing. Talib took it one step further -- his collaboration album, Liberation, went live for one week only. The buzz generated about Liberation was amazing leading up to (and during) the first week of the new year. The buzz has exploded since then. Everybody wants to know where they can get a copy of the album -- it's not in stores and not for sale anywhere. He also gave an exclusive, live performance of his newest single "Revolution in Sound" on VH1, which was released on VH1.com.

Time Magazine's "Person of the Year" for 2006 was You. You, the consumer, have more power than ever. Talib (and his label) have recognized this. Several of the major websites pointed out by Time have been used to build buzz about Talib's new album. Talib is using MySpace, YouTube, and Second Life, among others, to promote his new album.

What's important to know is that no single arrow will slay any beast. It takes multiple outlets to capture the consumer.