Most of this is old news, but you got to love this line:
“You can’t roll a joint on an iPod,” the singer-songwriter Shelby Lynne told The New York Times Magazine early last year. And, O.K., I suppose that’s among the iPod’s drawbacks. But it’s hard to think of an electronic device released in recent decades that’s brought more pleasure to more people.
Should anyone care that in the process, the iPod has all but killed the music industry as we’ve known it? Maybe not, Steve Knopper writes in “Appetite for Self-Destruction – The Spectacular Crash of the Record Industry in the Digital Age,” his stark accounting of the mistakes major record labels have made since the end of the LP era and the arrival of digital music. These dinosaurs, he suggests, are largely responsible for their own demise.
Mr. Knopper, a contributing editor at Rolling Stone, provides a wide-angled, morally complicated view of the current state of the music business. He doesn’t let those rippers and burners among us — that is, those who download digital songs without paying for them, and you know who you are — entirely off the hook. But he suggests that with even a little foresight, record companies could have adapted to the Internet’s brutish and quizzical new realities and thrived.
“The CD boom lasted from 1984 to 2000,” Mr. Knopper writes. Then the residue of old mistakes and a wave of new realities began hammering the music industry from all sides.
One of the first things the labels got wrong, Mr. Knopper says, was the elimination of the single. It got young people out of the habit of regularly visiting record stores and forced them to buy an entire CD to get the one song they craved. In the short term this was good business practice. In the long term it built up animosity. It was suicidal.
When Napster and other music-sharing Web sites showed up, the single came back with a vengeance. Before long MP3 — the commonly used term for digitally compressed and easily traded audio files — had replaced sex as the most searched-for term on sites like Yahoo! and AltaVista.
The record industry bungled the coming of Napster. Instead of striking a deal with a service that had more than 26 million users, labels sued, forcing it to close. A result, Mr. Knopper writes, was that users simply splintered, fleeing to many other file-sharing sites. “That was the last chance,” he declares, “for the record industry as we know it to stave off certain ruin.”