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Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age
 
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Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age [Format Kindle]

Steve Knopper

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Descriptions du produit

Revue de presse

'Even with the 20/20 vision of hindsight, the failure of the leading record labels to grasp the implications of the internet seem extraordinary. As Steve Knopper, a contributing editor to Rolling Stone, explains in this pacy account of corporate greed and myopia, they certainly had enough warning'
'[Knopper's] mix of interviews, analysis and insider gossip makes for a lively tale of corporate greed, egoism and panic'
Metro 11/6
'Knopper paints a damning picture of an arrogant business, completely out of step with technology and its consumers, trying everything from copy-protection to litigation to strangle the digital genie' Word magazine, July issue
[Knopper’s] conclusion that CDs sparked a boom time in the ‘80s and ‘90s that record men thought would never end might not be headline news, but his research is exhaustive (more than 200 interviews) and the result is an absorbing read peppered with amusing anecdotes illustrating how woefully complacent the major labels were, such as the meeting when one executive asked the residential digital music expert how to fix his cable TV connection. A funny and authoritative book’ Q magazine August issue
‘Appetite ForSelf-Destruction chronicles the corporate rivalries, technological hubris, myopic greed and lamentable customer relations that led to the recent plummet in profits from recorded music;
Guardian 1/8
‘Knopper’s excellent account of the record industry’s failure to adapt to the digital age is the best of a clutch of recent books that address the changing face of music’
Financial Times 8/8
‘Rolling Stone staffer Knopper’s account of the last 25 years of the record business is a cautionary tale of mind-bogglingly myopic blundering, told with a caustic appreciation of the giant eggs involved’
‘Books of the Year’, The Sunday Times 6/12

Présentation de l'éditeur

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 1990s. 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. to renegade Napster creator Shawn Fanning -- Knopper is the first to offer such a detailed and sweeping contemporary history of the industry's wild ride through the past three decades. 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.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 597 KB
  • Nombre de pages de l'édition imprimée : 301 pages
  • Pagination - ISBN de l'édition imprimée de référence : 1847371361
  • Editeur : Free Press; Édition : 1 (6 janvier 2009)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B001NLKTA6
  • Synthèse vocale : Non activée
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Amazon.com: 3.7 étoiles sur 5  51 commentaires
15 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 It's like reading the world's longest obituary 12 octobre 2009
Par John S. Harris - Publié sur Amazon.com
Format:Relié|Achat vérifié
Being in my early forties, I am just old enough (and just young enough) to have lived through pretty much every stage of the decline of the record industry so painstakingly detailed in this book.

I grew up going to record stores, then chain stores, then saw the advent of the CD when I started college. I lived through the CD boom and read about big-name acts signing new contracts worth untold millions of dollars primarily because their back catalogs were selling so well when the world was upgrading their record collections from vinyl to CD. I watched in horror as the "boy bands" seemed to take over. I again watched in horror as the labels pushed only the best-selling artists and dumped the rest from their rosters. I moaned in disbelief when I learned that WalMart was the biggest brick-and-mortar retailer of recorded music, and that was sad and unfortunate because their selection was so narrow. I nearly cried as the rock radio stations I listened to became far more repetitive and far less interesting. I was initially horrified by Napster and sided with Metallica -- file swapping was theft, plain and simple. But the labels' litigious response to it was no less outrageous. Understandable on some level, but outrageous nonetheless. When digital music became the norm, the powers-that-be did everything they could to stem the tide, and they did it in such a way to sour the record-buying experience.

Perhaps worst of all, though, is that the "album" has all but died. It's all about the hit single. There is almost no such thing as artist development anymore. Remember a few decades ago when artist would put out a record every calendar year and tour behind it every calendar year? Each year you could count on seeing your favorite band (Van Halen, Journey, KISS, Rush, The Police, maybe even The Who) tour all over the U.S., even hitting the secondary markets. Nowadays many big-name artists wait up to 3 or 4 years between releases. MTV and the labels milking every last drop from every last album changed all that.

Basically, I lived through every milestone event Steve Knopper details in this book. I stood on the sidewalk and watched that entire fiasco parade pass by. This book reads like an "E! True Hollywood Story" account of the demise of the record industry. Part of the fun of browsing through a huge record store's bins was getting to discover and listen to new music. Not any more. There's a huge difference between trying out a new record at the listening station and hearing a 30-second snippet on iTunes or Amazon. There's very little of the feeling of ownership anymore, at least with digital download. No more opening up the record or CD to peruse the insert booklet, read the liner notes, read the lyrics, look at the artwork and photos, check the credits to see what guest artist or studio musicians may have played on it or co-written a tune or two.

But in today's world that may not be important to everyone. It's hard to believe, but there is an entire generation of kids out there buying music online who have NEVER set foot in a record store EVER. Boggles the mind. I'm getting old, but I'm not THAT old.

Many people my age saw most of these events as they happened. The great thing about Knopper's book is that we now have names to put with those events. We know the "what", and thanks to Knopper's research we also know the "who", "why", and "how".

As with many other culture-shifting events and history-making events, the change in the tide isn't always an inevitable force of nature. Often it is the end result of the actions (or lack of action) of a relatively few people of influence, the events affected by their individual personalities, ambitions, prejudices, greediness, or what-have-you. You might even say that the whole reason the record industry playing field was moved in the first place was because of the rise of the personal computer, and for that we have various players like Gates, Jobs, Woz, folks at the Palo Alto Research Center at Xerox, IBM, etc. One might say the music business changed so dramatically because the personal computer industry simply came into existence. Had the latter never developed (or developed differently), the former may not have changed the same way.

I guess a better introduction for Knopper's book could have been the book "Accidental Empires" or the PBS documentary "Triumph of the Nerds". Everything that happens is a result of many seemingly unrelated things that happened previously. Everything is connected.

"Appetite For Self-Destruction" is a fascinating book. Highly recommended.
22 internautes sur 25 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Must-read for anyone who cares about music culture 13 janvier 2009
Par Patricia Romanowski Bashe - Publié sur Amazon.com
Format:Relié
In the sub-sub-genre of books about rock music and the industry, I rank this right up there with classics like "Hit Men" and "The Death of Rhythm and Blues." We think in terms of "industry," but through his deftly drawn portraits of industry leaders, Knopper helps us see clearly how we got to here from there: simple bad decision making and a blatant refusal to consider, first, that the world had changed and then a stunning lack of curiosity about how it had changed. Highly recommended. Enjoy!
14 internautes sur 15 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Excellent Book about the Free Fall of the American Music Industry 13 avril 2009
Par T. B. Vick - Publié sur Amazon.com
Format:Relié|Achat vérifié
This is an excellent book. Steve Knopper, contributing editor for Rolling Stone magazine, and who has also written for such publications as Wired, Esquire, Entertainment Weekly and the Chicago Tribune, has written this book detailing the trends from the near death of the music industry in the late 70s to early 80s to the life-saving entities such as MTV and Michael Jackson's "Thriller" album. Knopper provides meticulous detail about the negative and positive trends of the music industry over the past 20 years to the newly developed digital age of downloading music via iTunes. Knopper mentions names of major labor leaders; details the decisions these major labels have made that have been effective and those decisions that have been fairly detrimental.

Moreover, Knopper describes how the rise of Napster ultimately lead to severe bleeding within the music industry due to the consumer now having the knowledge to easily pirate music. The reaction of the music industry to Napster and its smaller subsequent file-sharing groups eventually lead to the now slow death of major labels. Knopper details how and why this happened. Additionally, Knopper details how Steve Jobs (of Apple computers) strong-armed the five major music labels into deals that lead to iTunes and huge sales of the iPod. This trend ultimately changed the music industry and pushed it into a direction to which it has not adjusted very well.

In fact, according to Knopper, it has taken the major music labels nearly ten years to realize how technology can actually help the industry, but now its probably too late. Moreover, many bands and artists are actually turning to their own independent methods of releasing their new albums and songs. These bands and artists (such as NIN, Radiohead, the Eagles, etc.) are realizing that this new avenue is actually more appealing to their listeners and making them a larger profit than they ever had signing contracts with the major labels.

This, and much more is described in great detail in this work. This is a very telling book about how greed and ignorance has actually cost the music industry in the long run. And, according to Knopper, if the major labels do not make massive changes very quickly, the music industry as we have known it for the last several decades will no longer exist.
18 internautes sur 21 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The Music Industry Missteps At A Glance 5 février 2009
Par H. D. Espinosa - Publié sur Amazon.com
Format:Format Kindle
This book is a nice recollection over the most catastrophic moments of the music industry since the late 70s to date. If you follow the news on music and technology regularly, you might not be too surprised to read something that you probably already know, but this material is just great for somebody who have developed sudden interest in this subject.

It covers the supposed disco and boy band obsession which record labels dived in and hoped that it would last forever, the "pay-to-play" practices that made the Top 40 a place where only paid music - not necessarily good music - deserved to be, lousy contracts which exploited artists to the bone, skepticism over new technologies and business models and disrespectful practices toward consumers (the infamous Sony BMG CDs infected with root kits, the inflated Album CD prices, the killing of CD singles and the RIAA lawsuits), showing that the music industry had made one mistake after another that ended up leading it to the situation it is today.

The only thing I disagree about the author's thoughts is the notion that the CD is deemed to die completely. I don't really think this is going to happen, because CDs still caters to a great number of people who cares about a better sound quality (which is far better then MP3, as a matter of fact) and likes to hold a physical, collectible product. It is correct to assume that less and less CDs will be sold over time and that shelf space devoted to them is getting thinner, but it is not going to disappear completely.

Entertaining and easy to read book, go for it.
5 internautes sur 5 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 We Told Them So 5 avril 2009
Par doomsdayer520 - Publié sur Amazon.com
Format:Relié
Music fans and industry watchdogs will already know many of the details in this book, but Steve Knopper illustrates the downfall of the music business as a long historical process going back almost to its own beginnings. While the standard villains in industry's recent collapse are file sharing and unprotected digital music, Knopper shows that the music industry already had an entrenched structural pattern of booms and busts, poor money management, aversion to new technologies, and inability to adapt to new consumer behaviors. File sharers are not totally to blame for the industry's collapse, since file sharing is an embrace of the same digital technologies that the industry once used to soak consumers during the CD boom, and a reaction to the industry's decades-old manipulation of price and distribution. Now the industry can do little more than fantasize about the glory days and sue its own customer base in order to scrape out a few more years of anemic income.

Knopper puts all of these trends into a long-term historical perspective that really shows how the record companies brought their demise on themselves and how the industry is inherently unsustainable, notwithstanding a few decades of temporary big profits. The only real problem is that this historical focus is off-kilter in places, with an over-aggrandizement of fads like disco and boy band pop as the lynchpins for huge business developments. In the book's closing chapter, Knopper makes some predictions about the future of digital song sales and the decline of the CD that are quite speculative and might make the book outdated very soon,

A better conclusion would have been an analysis of how musicians will always create and fans will always consume, but maybe industrial-sized distribution and economics are unnatural for the creative world, and that big business is incompatible with the interpersonal creation and enjoyment of music. Knopper comes close to a strong cultural discussion to go with his historical analysis. But he falters a bit by focusing only on the big business, which is the same mistake the industry has made. Music will survive, but the industrial manipulation of it is finished. Now let's find a new and better way for honest musicians to make a living. [~doomsdayer520~]
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thats when the business changed from this homegrown kind of thing to we have to do better this next quarter from the last quarter or our parent companies will be upset. &quote;
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What really demoralized the Napster-sympathizing employees of label new-media departments was a corporate culture that valued traditional marketing like video and radio above anything else. &quote;
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Unless such a big-money idea actually comes to fruition, it looks like the record business is doomed. The music business, however, has a bright future. &quote;
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