APPETITE FOR SELF-DESTRUCTION BY STEVE KNOPPER PDF

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: The Spectacular Crash of the Record Industry in the Digital Age

appetitw Thanks for telling us about the problem. The author writes in a sometimes conversational tone that doesn’t always seem to work in the context of this book. Jan 14, Christina rated it really liked it Shelves: 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. Get a FREE e-book by joining our mailing list today!

The takeover and consolidation of FM radio by large corporations is also not meaningfully explored. Strve very good book and an easy read. The cake, according to Fredric Dannen’s book Hit Mentook two seats selfdestruction a cross-country airplane and a freezer ambulance to get to Summer’s performance at the Penta discotheque in New York.

To see what your friends thought of this book, please sign up. The record industry and music industry are two separate animals.

Steve Knopper sets out to answer that question in Appetite for Self-Destruction: Then there was the tricky little matter of Casablanca executives shipping hundreds of thousands of records at a time, with little regard for public demand, and being unprepared when stores returned them.

More books from this author: 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. Finish a new album, and make it a blockbuster, by Christmas. I had some problems with cohesiveness. It’s incredible to me that rock fans would actually riot for the right to hear REO Speedwagon and Foreigner on their local airwaves instead.

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For thirty-seven minutes, Sox fans, disco haters, and all-purpose rabble-rousers united in a massive jamboree of public destruction. A nice survey of the music industry from the s til now. For most, including myself, the simple answer is that napster and file sharing destroyed the industry. Davis called Yetnikoff in early to offer him a job. Almost overnight, Dahl turned his new station’s ratings around. The part it hints at but doesn’t get into Why did my kids listen to my s music when they were teenagers?

Jan 04, Speeda rated it really liked it Shelves: Just a moment while we sign you in to your Goodreads account. 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 just took it and bought it. Either way, the combination of MTV and Michael Jackson was a one-two commercial punch that began the resuscitation of the record industry. This book is part hard journalism; part celebrity gossip.

In “Appetite”, Steve Knopper spells out the ways major record labels willfully ignored or attacked digital music advancements that threatened their entrenched way of doing things.

Appetite for Self-Destruction eBook by Steve Knopper | Official Publisher Page | Simon & Schuster

Laced with anecdote, buttressed by detailed accounts of the most flagrant record-industry transgressions, Appetite its title nicked from that of the Guns N’ Roses debut disc is an enthralling read, equal parts anger and regret.

Why did rock fans in Chicago hate disco so much? This book gives all of the ugly details about how they mishandled opportunities and failed to foresee the future. I can only assume that it was because they were taking advantage, contractually-speaking, of people who had much less power than they did.

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Knoppper traces the initial fall, the death of disco nearly killing off the industry until MTV and CDs both fought against by the industry save them. The first to go down, in spectacular fashion, was over-the-top Casablanca Records.

But what was so intimidating about people dancing in nightclubs? The clips gave Lack an idea. Hot Chocolate’s “You Sexy Thing”? I think most people my age watched the demise of the music industry in the past ten years with a certain sadness. Aug 03, Gphatty rated it liked it. Even so it’s worth sticking with, despite its dry, acedemic style it even has summary sections like any good text book tseve 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 knoppre any way interested in popular music.

Sadly, this is too little, too late. Likely music will survive but the record industry, with its unwillingness to accept appetit changing world, might not.

Through their reluctance to embrace MP3s and by clinging to an antiquated business model involving the sales of pieces of vinyl or plastic, the record industry has lost profits, prestige and the public trust. This is gripping stuff. 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.

In lateMichael Jackson almost magically restored the music industry’s superstar clout by releasing one record.