“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,” 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.
This is a story that begins in earnest in the early 1980s, when digital music first arrived in the form of the compact disc. At first, Mr. Knopper suggests, almost everyone was frightened of these small, shiny new toys.
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,” 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.
This is a story that begins in earnest in the early 1980s, when digital music first arrived in the form of the compact disc. At first, Mr. Knopper suggests, almost everyone was frightened of these small, shiny new toys.
