Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age (Anglais) CD – 6 janvier 2009
|Neuf à partir de||Occasion à partir de|
Descriptions du produit
Revue de presse
'[Knopper's] mix of interviews, analysis and insider gossip makes for a lively tale of corporate greed, egoism and panic'
'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;
‘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 --Ce texte fait référence à l'édition Broché .
Présentation de l'éditeur
Self-Destruction recounts the music industry's wild 30-year ride through the digital age. Based on interviews with over 200 music industry sources-from Warner Music chairman Edgar Bronfman Jr. to renegade Napster creator Shawn Fanning-as well as assiduous research in legal documents, unpublished memoirs, Billboard reports, and so on, Steve Knopper, a regular contributor to Rolling Stone, offers a contemporary history of big music that is more comprehensive and entertaining than any other book out there. From the birth of the compact disk, 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 board rooms, 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. --Ce texte fait référence à l'édition Broché .
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre adresse e-mail ou numéro de téléphone mobile.
Détails sur le produit
En savoir plus sur l'auteur
Dans ce livre(En savoir plus)
Parcourir et rechercher une autre édition de ce livre.
Commentaires en ligne
Commentaires client les plus utiles sur Amazon.com (beta)
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.
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.
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.
Steve Knopper sets out to answer that question in Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. For most, including myself, the simple answer is that napster and file sharing destroyed the industry. Knopper digs deeper, starting off in the end of the Disco Era, Knopper traces an industry that continues to snatch victory from the jaws of defeat in spite of itself. Along the way, Knopper nails down the many missteps that piled up for the industry, including excessive CD prices, killing the single (which made people pay $15 for 1 or 2 hits), excessive copy protection, outdated and expensive promotional methods, embracing the big box retailers at the expense of record stores, goinand finally, failing to embrace the digital file age until it was too late (and Apple had the upperhand).
Appetite for Self-Destruction is a fascinating portrait of what happens when an industry fails to adjust to changing times. While Knopper hits on the eccentric nature of the players in the business, he eschews the gossipy tone typical this type of books and instead points to the business problems that brought the industry down.
While Knopper makes clear that illegal downloads hurt the industry, he does not place the entire blame on illegal file sharing. He points out that the industry's biggest problem was not the theft of music, but their outright refusal to deal with it on any level beyond suing the pants off of people who posted files for sharing. There were several in the industry who felt that the record companies should start selling files online, and several aborted attempts at creating an iTunes like service occurred throughout the industry, but nobody wanted to let go of the cash cow that was the CD.
Appetite For Self Destruction is a great book for any music fan or business student wanting to see a case history of an industry that fails to adjust to changing times.