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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Appetite for Self-Destruction eBook by Steve Knopper | Official Publisher Page | Simon & Schuster
Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world—and the advent of file sharing brought it to its knees.
In a comprehensive, fast- For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world—and the advent of file sharing brought it to its knees.
In a comprehensive, fast-paced account full of larger-than-life personalities, Rolling Stone contributing editor Steve Knopper shows that, after the incredible wealth and excess of the ’80s and ’90s, Sony, Warner, and the other big players brought about their own downfall through years of denial and bad decisions in the face of dramatic advances in technology.
Big Music has been asleep at the wheel ever since Napster revolutionized the way music was distributed in the s. 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. Knopper, who has been writing about the industry for more than ten years, has unparalleled access to those intimately involved in the music world’s highs and lows.
Based on interviews with more than two hundred music industry sources—from Warner Music chairman Edgar Bronfman Jr. 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, recording 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 unforgettable portraits of the music world’s mighty and formerly mighty; detailed accounts of both brilliant and stupid ideas brought to fruition or left on the cutting-room floor; the dish on backroom schemes, negotiations, and brawls; and several previously unreported stories, Appetite for Self-Destruction is a riveting, informative, and highly entertaining read.
It offers a broad perspective on the current state of Big Music, how it got into these dire straits, and where it’s going from here—and a cautionary tale for the digital age.
Hardcoverpages. To see what your friends thought of this book, please sign up. To ask other readers questions about Appetite for Self-Destructionplease sign up. Be the first to ask a question about Appetite for Self-Destruction. Lists with This Book. Jan 09, Sarah rated it really liked it Recommended to Sarah by: You really, really did.
Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age
Don’t be angry because we learned to hate you too sekf-destruction. This was an excellent look at the battle between major music labels and their heels-dug-in resistance to changing technology, opinions, and taste over the past several decades. With a host of employees as colorful as self-edstruction artists they represent, it’s no wonder life at a major label has resembled a ride on a roller coaster.
Seeing the details and history behind the indu Oh, the U. Seeing the details and history behind the industry’s less-than-stellar decisions is fascinating. Knoppef 31, Danilo Pegorara rated it really liked it. Oct 04, Orsolya rated it it was ok Shelves: Regardless, the clarity of the situation is that things changed with digital. Not just digital in the iTunes realm, but dating back to the advent of CDs.
That is where Appetite for Self-Destruction begins… Appetite for Self-Destruction is divided into time frames depicting how each era in the recording industry led up to or was effected by the digital wave and eminent crash of the industry as we knew it. This sequencing is clear and logical, providing for easy understanding. For example, the explanation of the invention of CDs consists of a chapter which can cause many eyes to droop with technical and engineering jargon.
Yet, your eyes are again alerted as Steve Knopper then focuses on the industry reactions to CDs all were effected at the time: I had some problems with cohesiveness. Which brings me to my next point: In fact, Knopper focuses too much on background info versus the topic at hand.
The informal language becomes annoying especially as the books follows patterns of having long, informative chunks, then an even longer boring section, and then another entertaining passage, etc. No consistency was evident. One thing is certainly made clear by Knopper: Sadly, this is too little, too late. Further, the industry generally runs to one solution: In time, this rift can only grow unless properly bandaged.
The record industry and music industry are two separate animals. There will always be a music industry. Feb 04, Blog on Books rated it it was amazing. What appears as a tale of the modern day record era actually dates back even further.
Music writer, Steve Knopper begins his treatise, not in the post-digital era as one might imagine from the title, but from the post-Disco era, when the business was awash with money, excesses and a party atmosphere that pre-dates the decades long saviours of MTV and the CD era boom. But from the time computer companies seemingly quietly got an exemption from copy restrictions in their devices CD burners followed several years later by the advent of digital file sharing Napster, Kazaa, etc.
While labels were focused on creating hits through trends boy bands and pop divas being the one Knopper devotes much coverage to as well as relying on the mainstays of independent promotion and a locked down retail structure, college kids were already fleecing the companies through illegal downloads that the labels really never saw coming.
Knopper follows the myriad of episodes by which the business was transformed, with both historical reporting as well as interviews with many of the key players, and piuts together a sufficiently detailed timeline of how the business lost its audience and sales clout through this not-so-random chain of events.
Mar 02, Surfing Moose rated it really liked it. Well I’ve never been a fan of the majors even when my favorite acts ended up on them eventually. This book gave me more insight and answers to questions I had into why they f’d up with the digital evolution. I ended up seeing a similarity between the exec’s of the music industry and the greed of Wall Street. That being said, I still love my cds.
The art work, the actual physicality of the cd itself, and especially I love albums over singles. The singles I like are the extended versions a la the Well I’ve never been a fan of the majors even when my favorite acts ended up on them eventually. The singles I like are the extended versions a la the 80’s 12″ single.
Usually the market dictates price okay I’m not really bought on that onebut iTunes and the record industry decided 99 cents was the going price, not the purchasing public. This sounds more like price fixing and could be up knnopper an investigation. Me cheap not really. All I’m getting for appetitte cents is a digital file, no CD, no case, no artwork. The digital file also includes, my storage and my rented bandwidth.
A very good book and an easy read.
Feb 09, Ranjeev Dubey rated it liked it. Why did my kids listen to my s music when they were teenagers?
Why was the rock of the s and s so corporatized and lacking in distinctiveness? Why do the kids still have to dig so deep into Bit torrent databases to find the creative stuff currently being put out by Indie bands?
This book helps answer some of these questions. For sure it doesn’t have all the answers, but it at least has all the facts down so you can draw your own conclusions. The part it hints at but doesn’t get into Why did my kids listen to my s music when they were teenagers?
The part it hints at but doesn’t get into much is the extensive web of snake-eating-their-tail inter-dependent contracts between industry participants which were near impossible to cut through if the industry was to respond to the digital era challenge. I’m saying the law and lawyers did its bit to kill the industry!
The takeover and consolidation of FM radio by large corporations is also not meaningfully explored. That said, the book is an easy read, engaging at all times.
I did pick it up rather late so its a bit out of date, ending its survey in A quite nice discussion of the imploding record industry as opposed to the music industry. Full of color and bombastic personality, as appropriate.
To wit, a note about how, when initially launched, iTunes took 22 cents out of every 99 cent song purchase for itself, leaving 67 cents to be divided among the various rights holders. I hope everyone from the author to the copyeditor has A quite nice discussion of the imploding record industry as opposed to the music industry. The book did introduce me to the fascinating and elusive — no really, someone is babysitting that Wikipedia page and doing a fine job of it — Clive Calder.
I would have read about him all damn day, to hell with the rest of those clowns. Jan 24, Paulisded rated it it was amazing. Finally, somebody has the balls to tell the real reasons why the record business is dying. Yes, downloading is one of the reasons, but as Knopper reports, if record companies had worked WITH Napster they could have had a working model for online sales before the majority of consumers even realized they could download material.
Jun 24, Ryan Chapman rated it liked it Shelves: A nice survey of the music industry from the s til now. There aren’t any real conclusions drawn about the digital-driven sea changes of the past few years, other than the usual finger-pointing and scapegoating. What I did enjoy, though, was how Knopper so vividly paints a portrait of the CD-era boom times.
Major labels were making so much money, and were so greedy about their condescending attitudes toward fans, that the ensuing industry seizure feels less like a downfall and more like a cor A nice survey of the music industry from the s til now.
Major labels were making so much money, and were so greedy about their condescending attitudes toward fans, that the ensuing industry seizure feels less like a downfall and more like a correction. Even so it’s worth sticking with, despite its dry, acedemic style it even has summary sections like any good text book as it’s a decent summary of the decline of the music business, even if the conclusions won’t come as a huge surprise to anyone in any way interested in popular music.
May 29, Sean rated it really liked it Shelves: Fun book about the internals of the record industry. I learned a lot about the difference between the record industry and the music industry.