Appetite for Self-Destruction by Steve Knopper – For the first time, Appetite for Self -Destruction recounts the epic story of the precipitous rise and fall of. Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age: : Steve Knopper: Books. Steve Knopper. · Rating details · ratings · reviews. For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and.
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While at Buddah, he tailed a prominent radio program director through the streets of New York City in a rented limousine, using a loudspeaker on top of the car to blast the names of his acts. Thank you for signing up, fellow book lover!
Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age
Denne boka tar for seg platebransjens gullalder, som kan kokes ned til to bokstaver: Lazily written rock journalism masquerading as historical analysis. The book ends in with change still in the air and an uncertain future. New acts like over-the-top rock band Angel, whose members would emerge from pods on stage, possibly inspiring a key scene in This Is Spinal Tapnever caught on.
They’ve lost major artists and huge amounts of revenue. May 19, Kerry rated it really liked it. That’s what eventually turned me towards jazz He cheated on his wife with a fellow music-business type he called Boom Boom. Braun had been on the phone with some artist managers, and by the time he straggled into the meeting, the Siemens guy was just about finished.
While Knopper makes clear that illegal downloads hurt the industry, he does not place the entire blame on illegal file sharing. All I’m getting for 99 cents is a digital file, no CD, no case, no artwork.
And mountains of lawsuits against their own customers. Davis called Yetnikoff in early to offer him a job. As always, record labels went where the sales were, and for much of the late s, that was disco.
Mar 02, Surfing Moose rated it really liked it. It was a recipe for music-business disaster, and inlabels started to crash. They will indeed need to re-invent themselves to self-destrhction viable, but like so many companies and industries, maybe we would all be better off if they just appetlte and get replaced by smaller, more adaptable, more interesting smaller organizations.
He also signed one of the most unique recording acts ofthe New York Mets, and dragged the entire team, many of them drunk, into the studio for an all-night session after they won the World Series. Duncan was also perhaps the only disco fan on the Comiskey field that night. Now, because powerful people like Doug Morris and Tommy Mottola failed to recognize the incredible potential of file-sharing technology, the labels are in danger of becoming completely obsolete.
The first to go down, in spectacular fashion, was over-the-top Foe Records. Not just their justifiable anger towards illegal downloading, but their failure to realize digital music’s sales potential. This book gives all of the ugly details about how they mishandled opportunities and failed to foresee the future.
The book is well researched and written, and mostly interesting. Napster was really not that great.
From the birth of the compact disc, through the explosion of CD sales in the ’80s and ’90s, the emergence of Napster, and the secret talks that led to iTunes, to the current collapse of the industry as CD sales plummet, Knopper takes us inside the boardrooms, stsve studios, private estates, garage computer labs, company jets, corporate infighting, and secret deals of the big names and behind-the-scenes players who made it all happen.
With his mother’s encouragement, Yetnikoff picked up garbage and made city deliveries on nights and weekends to put himself through Columbia Law School.
Though the labels persevered, they finally lost control of their product when they chose to ignore the possibilities lnopper the Internet The slickest of the group, by far, was Pittman, son of a Mississippi Methodist minister. Knopper digs deeper, starting off in the end of the Disco Era, Knopper traces an industry slf-destruction continues to snatch victory from the jaws of defeat in spite of itself.
Big Music has been asleep at the wheel ever since Napster revolutionized the way music was distributed in the s. And it’ll self-destrcution you nothing to give them to us.
Then they created the CD which you could not roll a joint on as well as you could with an LP. I dumped my D. Beyond the war on Napster and the RIAA lawsuits, Appetite for Self-Destruction looks at wppetite industry’s resistance to the CD format, its over-reliance on a few key artists, and incestuous management structures and attendant power plays.
As an example of the moronic stteve of distribution and the fact that you had to buy the entire record even if you just wanted one song “Who Let The Dogs Out” at fr time outsold what Lily Allen currently does or than that other band I was in. No consistency was evident. He cheated on his wife with his secretary. He paints a devastating picture of the industry’s fumbling, corruption, greed and bad faith over the decades.
Appetite for Self-Destruction : NPR
Aug 21, JDK rated it liked it. Steve Dahl’s Chicago demolition-turned-riot may have killed disco commercially, but the fans were still alive — and Jackson was a master of providing the slinky rhythms to warm their hearts. Must redeem within 90 days.
The songs, the dancing, the roller-skating, the disco balls, the heavy makeup — it was all so massive, so goofy, and over the top.