Download Dirty Little Secrets of the Record Business: Why So Much by Hank Bordowitz PDF
By Hank Bordowitz
For disgruntled song fans wondering why song performed at the radio is not just worse now than some time past yet also not approximately as revelatory because it as soon as used to be, this book presents a detailed discussion of how the checklist company fouled its personal livelihood. This insightful dissection covers a number of facets of the industry's mess ups and shortcomings, including why stockholders play a big position, how radio went from an artwork to a technological know-how and what used to be misplaced in that fluctuate, how the checklist businesses alienated their center viewers, why dossier sharing may not be the bogeyman that the list could have humans imagine, technology’s results on what and the way song is heard, and dozens of different purposes that upload as much as the list industry’s present monetary and creative woes. With eye-opening observations culled from large interviews, this exposé bargains insights into how this multi-billion-dollar is administered and why it’s wasting a lot money.
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Extra info for Dirty Little Secrets of the Record Business: Why So Much Music You Hear Sucks
If you’re a major label senior executive, why would you want anything to change, especially the perks and the salary? Like Philips, Sony manufactured entertainment hardware and wanted a foothold in the software end of things, especially after the fall of its Betamax standard as a consumer format for video. One of the reasons it failed is that Sony’s main competitor, Matsushita, owned film rights; Sony did not. “Sony wanted their own software,” Walter Yetnikoff said of the company’s 1988 purchase of the CBS Record group, in part to feed the burgeoning market Sony had recently cultivated with the Walkman.
The gains were visible for anyone to see (and hear). The winners were as obvious as the losers flew below the radar, so it was easy to believe, if you weren’t inside it, that everything that came into a record store flew out to the tune of singing cash registers. Beyond that, the “record guys” demonstrated, even with their failures, an innate knowledge of what people wanted to hear. It was an era when the perception of music largely selling itself was not as far fetched as it seems now, though the mechanics of how the music “sold itself” would appall the MBAs when they started to make their move to capitalize on the gold on vinyl that they saw in records.
One publicist of my acquaintance recalled that the promotion department of the major record company for which he worked just usurped about half the publicity department’s budget one year when promotion ran over. With the rise of MTV in the 1980s, video promotion became a very important means of breaking an artist. Some artists that could never get a break on radio broke big at MTV. The network’s influence started to ebb in the 1990s as it lost track of what the M in its name stood for and remade itself as a teen and young adult lifestyle channel.