Dominated by greedy record labels and challenged by subversive file sharers, the music industry is in need of serious reform.

The term “music industry” in itself is depressing. In general, music making has had art stripped off from it and replaced by capitalist impulsions. Record producing concentrates on creating that catchy single and an image that will drive CD sales. As Ani DiFranco sings in her song, “Fuel,” “Now everything is cross-marketing/it’s about sunglasses and shoes/or guns and drugs/you choose/we got it rehashed/we got it half-assed.”

Indeed, it’s a really bleak industry.

However, a recent record released has sparked some hope of liberation.

On Sept. 30, Radiohead released their album, “In Rainbows,” online. The price? Whatever you want to pay. It can be 50 cents or $500. This has caused some significant turmoil. Radiohead, one of the world’s most innovative and influential bands, has gotten rid of the middleman and established the commercial relationship directly with the fans. This means that no longer is the price arbitrarily instituted, but that the value is directly attached to the quality of the music, which, like all art, is relative to each individual’s opinion. It also means that Radiohead can now exercise all the creative freedom they want. No more music executives, who care only about returns, insisting on more marketable songs. This novel enterprise should satisfy both artists and fans, which are the only ones that really matter.

It’s interesting that in the music industry all CDs cost about the same price, regardless of the quality of the music or the effort put into it. Crappy music, good music, it’s all in the same price range. The value paid is not a direct reflection of the music itself, but of promotional efforts, image packaging and herd mentality. We no longer pay for the music, but for a product, and there is a big difference between the two. Contemporary music has ceased to be a form of art and transformed into meaningless recreation.

The mainstream music industry has strayed away from the real beauty of music. The creation and popularization of songs is no longer an organic, grassroots and communal project. It has become a top-down approach in which record labels dictate what gets air space and impose what are supposed to be the popular songs. However, there is still resistance. Some of the most dynamic, creative and influential segments of music, such as jam bands and the electronic scene, exercise this communal spirit. The sharing of live recordings and mixed tapes are common practice, and an intrinsic part of these scenes.

The Internet is a great channel to restore the democratic spirit of music. It challenges the power structure in which record labels control the channels, and people are able to explore new artists through file sharing and forums. The fact that Radiohead is acknowledging and contributing to this experience shouldn’t be taken lightly, and they should be praised for it. So, feel free to continue file sharing, but if you’re going to get “In Rainbows,” at least acknowledge Radiohead’s enterprise and do it through their Web site.

De Oliveira is a Belo Horizonte, Brazil junior in journalism, history and peace and conflict studies.