The devil wore vinyl, then CDs
The most compelling characters in Appetite for Self-Destruction are also the most despicable: Knopper (a Rolling Stone contributing editor) fearlessly puts faces on the tyrants of the recording industry, outlines their historic resistance to change, and documents the witch hunt they’ve loosed against downloaders.
The digital frontier is the obvious next step in the evolution of
music dissemination, but hubris appears to be driving the big labels
out of business. The executives in charge, in Knopper’s account, come
off as highly literary—as flawed as Faulkner’s characters, as pushy as
Tom Clancy’s best, and generally, as a cast and crew, dramatic on a
Shakespearean level.
Knopper
gives us the meticulous research of a college textbook, but his
fast-paced style is direct and humorous. He allows his subjects and
their shenanigans to speak for themselves, offering open confessions
that detail why the music industry’s karmic chickens, bred now for
decades, are coming home to roost.

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