Among other things, that would rank the song right up there as the ultimate impulse buy. To be accurate, 'Crazy' won this distinction because of a recent amendment to the British music industry's rule that a song's download couldn't count against its sales until it became available in stores. However, the point has been made that, just as digital discs replaced tapes and records in personal music consumption, the torch has now been passed to digital transfers.
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PC World noted this eventuality in its January 2006 issue, noting that music download sales tripled in 2005. That accounted for six percent of the music industry's sales for the year, impressive in that it also signifies a dent in the number of pirated tracks. Figures released by the International Federation of the Phonographic Industry --- the authoritative source --- revealed a tally of $1.1billion in download sales during the year.
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Gnarls Barkley's digital achievement came just over a month after another cyber-landmark was attained. The billionth download in iTunes history occurred in late February 2006, when a Michigan teen ordered Coldplay's 'Speed of Sound' for the sum of 99 cents. That price is yet another reason why singles --- almost eradicated by the trend toward albums in the 1970s --- are back, and in a big way.
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- And to think that the music industry spent the early years of the Cyber Era trying to deny, or at least discourage, its existence.
- Perhaps finally realizing that such a tactic didn't work for blacksmiths at the turn of the last century, the recording moguls --- albeit grudgingly --- sought to learn from the new technology. The key to their success to date is their seeming awareness that their objective is to find their niche in the cybermarket, rather than attempt to dominate it. Granted, it's a mega-niche, but the industry apparently accepts that it will no longer be the lone gateway between artist and consumer.