Acknowledgments.
FIRST, THANKS TO the more than 230 executives, scouts, publicists, artists, lawyers, technologists, authors, teachers, inventors, managers, and DJs who shared their recollections of working in this bizarre and colorful industry, which, as Frank Dileo says, is in "a confusion of flux, a flux of confusion." A small portion of them spoke anonymously or off the record; most of the rest are named in the endnotes if not in the text. I'm especially indebted to those who agreed to multiple interviews-Gil Friesen, Jerry Moss, Joe Smith, Marc Finer, Bob Jamieson, Bob Buziak, Bill Scull, Bob Sherwood, Stan Cornyn, Jim Caparro, Jim Guerinot, Randy Cole, Al Smith, Paul Vidich, Kevin Gage, David W. Stebbings, Howie Klein, Roger Ames, John Briesch, James T. Russell, Talal Shamoon, David Leibowitz, Michael Schulhof, and others I'm sure I've missed. the more than 230 executives, scouts, publicists, artists, lawyers, technologists, authors, teachers, inventors, managers, and DJs who shared their recollections of working in this bizarre and colorful industry, which, as Frank Dileo says, is in "a confusion of flux, a flux of confusion." A small portion of them spoke anonymously or off the record; most of the rest are named in the endnotes if not in the text. I'm especially indebted to those who agreed to multiple interviews-Gil Friesen, Jerry Moss, Joe Smith, Marc Finer, Bob Jamieson, Bob Buziak, Bill Scull, Bob Sherwood, Stan Cornyn, Jim Caparro, Jim Guerinot, Randy Cole, Al Smith, Paul Vidich, Kevin Gage, David W. Stebbings, Howie Klein, Roger Ames, John Briesch, James T. Russell, Talal Shamoon, David Leibowitz, Michael Schulhof, and others I'm sure I've missed.
Eric Garland of BigChampagne.com saved my butt a number of times-he suggested a rough outline at a critical, last-minute point in the pitch process, revealed important sources, and lightly pointed out when I was wandering aimlessly in the wrong direction. I owe him numerous Shiner Bocks at the top of a parking garage someplace in Austin. Several sources were kind enough to review technical passages, including the professorial James T. Russell, the good-humored Talal Shamoon, and my older brother, Mark Knopper, who in addition to inventing the internet (more or less) was (through his coincidental friendship with a preRykodisc Rob Simonds) the first person I ever knew with an actual CD player. Garland, Steve Greenberg, Jenny Eliscu, and my old Colorado Coalition pal and bullshit-detector Leland Rucker volunteered their time as readers; all made thoughtful comments, some of which led to drastic restructurings of entire chapters.
Wylie O'Sullivan, my editor, inherited this project, and turned out to be the absolute perfect person for it. She was gentle and patient, critical and pointed, adaptable and receptive-all at the right times, and all in an encouraging way. Daniel Lazar, my agent, happened across a "funny little article" (as he calls it) I wrote in Wired Wired about attempting to kill a cheapo PC with viruses and spyware. Six ideas, three months, and eight proposal rewrites later, thanks to his savvy, perseverance, and connections, I had a book deal. This book wouldn't have been possible without Maris Kreizman, who held Wylie's post at Free Press before leaving for another opportunity in early 2007. I regret never getting the chance to truly work with her. Thanks to Dominick Anfuso for believing in this project all along. In the UK, I'm grateful to Dan's counterpart, Dorie Simmonds, as well as Andrew Gordon for signing the book, and Angela Herlihy and Katherine Stanton for seeing it to fruition. Patty Romanowski Bashe is a former about attempting to kill a cheapo PC with viruses and spyware. Six ideas, three months, and eight proposal rewrites later, thanks to his savvy, perseverance, and connections, I had a book deal. This book wouldn't have been possible without Maris Kreizman, who held Wylie's post at Free Press before leaving for another opportunity in early 2007. I regret never getting the chance to truly work with her. Thanks to Dominick Anfuso for believing in this project all along. In the UK, I'm grateful to Dan's counterpart, Dorie Simmonds, as well as Andrew Gordon for signing the book, and Angela Herlihy and Katherine Stanton for seeing it to fruition. Patty Romanowski Bashe is a former Rolling Stone Rolling Stone editor who knows her Hall from her Oates; I was lucky to get her as copy editor. editor who knows her Hall from her Oates; I was lucky to get her as copy editor.
About forty interview subjects did not wind up in the text, mostly for space reasons. They were knowledgeable and insightful and shared their valuable time-particularly Davitt Sigerson (who turned me on to Andrew S. Grove's book), Bob Divney, Dave Richards, Steve Wozniak, Tim Sommer, Jim McGuinn, Konrad Hilbers, Russell Frackman, Milt Olin, Tom DeSavia, Gilles Boccon-Gibod, F. Joseph Gormley, Asif Ahmed, James Diener, David Pakman, Lucas Mann, Bruce Flohr, Fred von Lohmann, and Fred Goldring.
Enthusiastically setting up interviews, suggesting sources, or just being kind when I needed it were Lisa Stone in Gil Friesen's office, Sunnie Outlaw in Strauss Zelnick's office, Michelle Burt in Jeff Ayeroff's office, Annie Meaher in Tom Corson's office, Nathaniel Brown, and Lisa Lake (for hooking me up with Joe Smith and Marc Finer). Also helpful with connections, interviews, recollections, running interference, or tracking down clippings: George Boyd, Ann Morfogen, Jeff White, Diana D'Angelo, Marianne Hasselbach, Will Tanous, Amanda Collins, Debbie Densil, Hannah Pantle, Stephanie Gold, Sara Christensen, Mary Van Daele, Bobby Ewing, Michael Zager, Molly Schoneveld, Kathryn Litsas, Bill Bentley, Jim Kloiber, Christian Algar, Joanne Dant, Lauren Harris, Fernando Aguilar, Stephan Weikert, Wendy Washington, Brian Lucas, Yvonne Gomez, Sohayla Cude, Karen Allen, Joerg Howe, Marc Pollack, Alfonso Alvarez, Marnie Black, Patti Conte, Peter Lofrumento, Chad Goonan, Vera Salamone, Jacqueline Park, Rich LaMagna, Kay Lyn Byrne, Matt Graves, Matthias Rose, Nakia Fowler, Susan Gordon, Doug Wyllie, Ilka Becker, Carrie Davis, Ricki Seidman, Isabelle Caldenbach, Cathy Arthur, Laura Ormes, Jennifer Stryd-Donahue, Steve Karas, Jeannie Kedis, Steven Strosser, Sue Turner, Nadia Rogers, Anna Vrechek, Leyla Turkkan, Sarah Weinstein, Theola Borden, Christina Rentz, Jocelyn Johnson, Andy Greene, Carol Chisholm, Diane Retiand, Gary Morgenstern, and Bob Kostanczuk.
Anna Loynes provided sales numbers from Nielsen SoundScan; Jonathan Lamy did the same from the Recording Industry Association of America. Mark Coleman, author of the excellent book Playback Playback, was friendly enough to respond when I came across his name on the I Love Music board and (in somewhat confused manner) sought his advice.
My editors at Rolling Stone Rolling Stone-especially Jason Fine and Jonathan Ringen, but also Joe Levy and Jann S. Wenner behind the scenes-have since 2002 given me the best possible journalistic platform to observe the cataclysmic shifts in the music industry. They were also kind enough to keep the work coming as I trudged through this book. My colleagues Brian Hiatt and Evan Serpick gave important insights at key times. Other editors who offered encouragement or at least looked the other way when I stopped pitching to them (temporarily!): Adam Rogers of Wired Wired; Josh duLac of The Washington Post The Washington Post; Greg Kot, Carmel Carrillo, and Kevin Williams of the Chicago Tribune Chicago Tribune; Genetta Adams, Kevin Amorim, and Glenn Gamboa of Newsday Newsday; Tina Maples of the Milwaukee Journal Sentinel Journal Sentinel; and Joe Rassenfoss and Mark Brown of the Rocky Mountain News Rocky Mountain News.
Special thanks to Gloria Gaynor for her patience.
My friends and family have always enthusiastically supported this project, even when they became understandably sick of hearing about free-goods allowances and compression schemes: Dorothy Knopper, Doug, Abbie, and Benjamin Knopper, Don and Peggy Ramsdell, Jonathan Boonin, Larry Gallagher, Michael McKelvey, Maynard Eaton, David Menconi, Jim DeRogatis, Tim Riley, and fellow idiot Mark Bliesener. Gary Graff met me at a Detroit-area hotel buffet on a gray Christmas Day 2006 and gave a crucial bit of advice he probably doesn't even remember.
Finally, my father, Morton P. Knopper, died August 3, 2008. Thanks, Dad. I hope you can get books up there.
About the Author.
Steve Knopper is a is a Rolling Stone Rolling Stone contributing editor who has covered the music business since 2002. Since beginning his career in 1989, as an obituary writer and concert reviewer for contributing editor who has covered the music business since 2002. Since beginning his career in 1989, as an obituary writer and concert reviewer for The Richmond The Richmond (Virginia) (Virginia) News Leader, News Leader, he has contributed to such publications as he has contributed to such publications as Wired, SPIN, Esquire, National Geographic Traveler, Billboard, Newsday Wired, SPIN, Esquire, National Geographic Traveler, Billboard, Newsday, the Chicago Tribune Chicago Tribune, and the Rocky Mountain News Rocky Mountain News. He lives in Denver with his wife and six-year-old daughter.
* The name came from a street gang at the time called "The Insane Unknowns" and a fleet of coho salmon at Burnham Harbor in Chicago, which Dahl was driving by when he heard a report about gangs on the radio. "Lips" was a non sequitur. The name came from a street gang at the time called "The Insane Unknowns" and a fleet of coho salmon at Burnham Harbor in Chicago, which Dahl was driving by when he heard a report about gangs on the radio. "Lips" was a non sequitur.
* I will let the reader decide whether Cohen's comment is "rockist"-defined by Kelefa Sanneh in the October 31, 2004, I will let the reader decide whether Cohen's comment is "rockist"-defined by Kelefa Sanneh in the October 31, 2004, New York Times New York Times as an unfair slam against well-crafted pop music because it somehow isn't "authentic" enough. Sanneh wrote, "Rockism means idolizing the authentic old legend (or underground hero) while mocking the latest pop star; lionizing punk while barely tolerating disco; loving the live show and hating the music video; extolling the growling performer while hating the lip-syncher." as an unfair slam against well-crafted pop music because it somehow isn't "authentic" enough. Sanneh wrote, "Rockism means idolizing the authentic old legend (or underground hero) while mocking the latest pop star; lionizing punk while barely tolerating disco; loving the live show and hating the music video; extolling the growling performer while hating the lip-syncher."
* Others remember the meeting a different way, saying Zelnick tried to mediate the dispute between Pearlman and the band. "It was actually a relatively friendly meeting," says a source privy to the talks. "Lou gave the boys hugs. They were angry at Lou because they felt he was taking too much of the economics and they had made a bunch of demands. The boys laid out very aggressive terms, perhaps even reasonable, but Lou was not prepared to go there. Ultimately the meeting was disappointing for the boys." Others remember the meeting a different way, saying Zelnick tried to mediate the dispute between Pearlman and the band. "It was actually a relatively friendly meeting," says a source privy to the talks. "Lou gave the boys hugs. They were angry at Lou because they felt he was taking too much of the economics and they had made a bunch of demands. The boys laid out very aggressive terms, perhaps even reasonable, but Lou was not prepared to go there. Ultimately the meeting was disappointing for the boys."
* In 2003, after Florida officials investigated hundreds of complaints about Pearlman's Trans Continental Talent Inc. website, I interviewed Pearlman by phone for In 2003, after Florida officials investigated hundreds of complaints about Pearlman's Trans Continental Talent Inc. website, I interviewed Pearlman by phone for Rolling Stone Rolling Stone. The complaints came from actors, singers, and others who said the website charged them $1,500 apiece and did little more than post their resumes online-if that. Friendly but rushed, Pearlman denied all the charges. "Trans Continental is a big company and stands by our name and reputation," he said, blaming the media for sensationalizing the complaints. "People who know us know the story. It doesn't help the image, but it hasn't hurt me."
* This is an understatement. On its website, Fraunhofer calls this team "inventors of the MP3," and media often refer to Karlheinz Brandenburg as "the father of the MP3." The truth is not so simple. A bunch of companies earned patents for contributing ideas and technology to the format. One of these was Bell Labs, where Brandenburg worked briefly in the late 1980s. Then Alacatel-Lucent bought Bell Labs's MP3 patents. Then the company insisted on receiving royalty payments, just like the Fraunhofer Institute, which gets $2,500 for every video game that uses the MP3 format. So when Microsoft paid $16 million to license the technology for including MP3s in its Windows Media Player, Alcatel-Lucent's lawyers sued. They won a $1.52 billion judgment, although a federal judge in San Francisco set aside the ruling in August 2007. "I never call myself the inventor of MP3, because there's a lot of people," Brandenburg says in an interview. "I know on whose shoulders I stand. But on the other hand, I certainly had a lot to do with the development of MP3." This is an understatement. On its website, Fraunhofer calls this team "inventors of the MP3," and media often refer to Karlheinz Brandenburg as "the father of the MP3." The truth is not so simple. A bunch of companies earned patents for contributing ideas and technology to the format. One of these was Bell Labs, where Brandenburg worked briefly in the late 1980s. Then Alacatel-Lucent bought Bell Labs's MP3 patents. Then the company insisted on receiving royalty payments, just like the Fraunhofer Institute, which gets $2,500 for every video game that uses the MP3 format. So when Microsoft paid $16 million to license the technology for including MP3s in its Windows Media Player, Alcatel-Lucent's lawyers sued. They won a $1.52 billion judgment, although a federal judge in San Francisco set aside the ruling in August 2007. "I never call myself the inventor of MP3, because there's a lot of people," Brandenburg says in an interview. "I know on whose shoulders I stand. But on the other hand, I certainly had a lot to do with the development of MP3."
* In 2000, the RIAA would successfully sue MP3.com after the company bought 45,000 copyrighted CDs and posted them on an internal server for unlimited customer use. In 2000, the RIAA would successfully sue MP3.com after the company bought 45,000 copyrighted CDs and posted them on an internal server for unlimited customer use.
* The mischievous Offspring later offered bootleg T-shirts with Napster's copyrighted kitty-in-headphones logo to fans via its website. Napster sent a cease-and-desist letter. Napster's hypocrisy was duly noted in the media, although both camps agreed to a deal and gave the proceeds to charity. The mischievous Offspring later offered bootleg T-shirts with Napster's copyrighted kitty-in-headphones logo to fans via its website. Napster sent a cease-and-desist letter. Napster's hypocrisy was duly noted in the media, although both camps agreed to a deal and gave the proceeds to charity.
* This story has become a sort of legend, with various members of SDMI remembering it in a slightly different way. Randy Cole swears it took place exactly as described in the text, and others confirm his recollection. Talal Shamoon agrees, mostly, but says Smith wasn't angry; rather, he and another Sony Music staffer merely left the tense meeting to strategize and get some air. For his part, Smith, who agreed to several phone interviews for this book, says: "It's probably a true story. I do remember the incident. I remember the shots. I don't remember the humor." This story has become a sort of legend, with various members of SDMI remembering it in a slightly different way. Randy Cole swears it took place exactly as described in the text, and others confirm his recollection. Talal Shamoon agrees, mostly, but says Smith wasn't angry; rather, he and another Sony Music staffer merely left the tense meeting to strategize and get some air. For his part, Smith, who agreed to several phone interviews for this book, says: "It's probably a true story. I do remember the incident. I remember the shots. I don't remember the humor."
* In 2006, Sony Corp. opened an online music store, Connect, intending to compete with iTunes. It sold files in the ATRAC format, which worked only with Sony digital players-not iPods or any other devices. The store went nowhere and closed about a year later. In 2006, Sony Corp. opened an online music store, Connect, intending to compete with iTunes. It sold files in the ATRAC format, which worked only with Sony digital players-not iPods or any other devices. The store went nowhere and closed about a year later.
* Warner Communications Inc., owner of the Warner Music Group, invested in Atari, then a huge moneymaker, in 1976. Does that mean Steve Jobs was (indirectly) an employee of Warner? No, says Steve Mayer, an Atari and Warner Communications executive of that era, in an interview. But Mayer notes that after the Apple I came out in fall 1976, Warner had an opportunity to buy the Steves' new computer company and passed. Why? "Because there was no future in personal computers," Mayer dead-pans. Warner Communications Inc., owner of the Warner Music Group, invested in Atari, then a huge moneymaker, in 1976. Does that mean Steve Jobs was (indirectly) an employee of Warner? No, says Steve Mayer, an Atari and Warner Communications executive of that era, in an interview. But Mayer notes that after the Apple I came out in fall 1976, Warner had an opportunity to buy the Steves' new computer company and passed. Why? "Because there was no future in personal computers," Mayer dead-pans.
* To clarify, the Audio Home Recording Act exempted To clarify, the Audio Home Recording Act exempted computers computers that copied music. It did not exempt file-sharing software services, like Napster or Kazaa, from allowing users to trade copyrighted music files with each other via the internet. that copied music. It did not exempt file-sharing software services, like Napster or Kazaa, from allowing users to trade copyrighted music files with each other via the internet.
* Michael Jackson's personal life has largely buried what made him such a magnetic performer in the Michael Jackson's personal life has largely buried what made him such a magnetic performer in the Thriller Thriller era. Even on eBay, it's almost impossible to dig up copies of the old, celebratory Michael books: era. Even on eBay, it's almost impossible to dig up copies of the old, celebratory Michael books: Moonwalk, Moonwalk, a ghostwritten autobiography, is so long out of print that my attempt to purchase it on Amazon produced instead a ghostwritten autobiography, is so long out of print that my attempt to purchase it on Amazon produced instead Moonwalker, Moonwalker, a kids' coloring book and concert-film tie-in, in which a leather-jacketed Jackson saves the universe from aliens. a kids' coloring book and concert-film tie-in, in which a leather-jacketed Jackson saves the universe from aliens.
* Rebuttal from country singer-songwriter Shelby Lynne, in the Rebuttal from country singer-songwriter Shelby Lynne, in the New York Times Magazine New York Times Magazine, January 13, 2008, p. 31: "You can't roll a joint on an iPod."
* Morris did not respond to numerous interview requests for this book. Morris did not respond to numerous interview requests for this book.
* Executives from major labels had told pre-iTunes digital music services-including Napster and Real-that they couldn't license content because their hands were tied with artist contracts and publisher agreements. There are a number of theories as to how Apple cut through all that: 1) The previous models that labels had discussed were subscriptions, which were more complicated, and iTunes's pay-by-the-song approach was easier to work out; 2) failed early services such as MusicNet (which never went online) and Pressplay had already done much of the heavy lifting as far as haggling with artists, publishers, and attorneys; and 3) label execs were stubborn until they found something they liked, the iTunes Store. Executives from major labels had told pre-iTunes digital music services-including Napster and Real-that they couldn't license content because their hands were tied with artist contracts and publisher agreements. There are a number of theories as to how Apple cut through all that: 1) The previous models that labels had discussed were subscriptions, which were more complicated, and iTunes's pay-by-the-song approach was easier to work out; 2) failed early services such as MusicNet (which never went online) and Pressplay had already done much of the heavy lifting as far as haggling with artists, publishers, and attorneys; and 3) label execs were stubborn until they found something they liked, the iTunes Store.
* Apple's Fadell, who agreed to talk by phone, is a hardware guy who didn't feel qualified to discuss the label deals. Apple's Fadell, who agreed to talk by phone, is a hardware guy who didn't feel qualified to discuss the label deals.
* In the May 29, 2008, issue of In the May 29, 2008, issue of Rolling Stone Rolling Stone, Eagles manager Irving Azoff, an enthusiastic early iTunes supporter, told writer Charles M. Young: "We make more money for forty-five minutes of one show in Kansas City than our entire iTunes royalty."
* Ayeroff agreed to be interviewed at length for this book on a range of topics. He insists, counter to Garland's recollection, that the exchange in question took place not in 2003 but before the iPod was even in the marketplace. Ayeroff agreed to be interviewed at length for this book on a range of topics. He insists, counter to Garland's recollection, that the exchange in question took place not in 2003 but before the iPod was even in the marketplace.
* Neither Mottola nor Carey would talk about their divorce in public. But Carey's "Honey" video was fairly simple to deconstruct-in it, the singer escapes house arrest by jumping off a balcony into a pool. And after she escaped Mottola, she shrewdly took off from his company as well. It seems a music snippet she had licensed wound up on label mate Jennifer Lopez's CD. Rather than suing, Carey's people reportedly used this sticking point to break her contract. (Both parties denied that this was true.) She fled to EMI. Neither Mottola nor Carey would talk about their divorce in public. But Carey's "Honey" video was fairly simple to deconstruct-in it, the singer escapes house arrest by jumping off a balcony into a pool. And after she escaped Mottola, she shrewdly took off from his company as well. It seems a music snippet she had licensed wound up on label mate Jennifer Lopez's CD. Rather than suing, Carey's people reportedly used this sticking point to break her contract. (Both parties denied that this was true.) She fled to EMI.
* Davis and his reported $10-million-a-year salary finally succumbed to stark music business reality in May 2008, when Sony BMG removed him from the BMG chairmanship and shifted him to "chief creative officer." Davis's allies in the business, including Rod Stewart's manager, Arnold Stiefel, insisted the move was Davis's idea and that he'd be working as closely with artists as ever. Other sources, however, said more germane factors were Davis's large salary at a time of cost cutting and his refusal, at age seventy-six, to name a successor. Sony BMG's replacement for Davis was Barry Weiss, forty-nine, who had taken over as president of Zomba after Clive Calder left the company, and continued to break hit CDs from the likes of Chris Brown and T-Pain despite the industry's ongoing sales problems. Davis and his reported $10-million-a-year salary finally succumbed to stark music business reality in May 2008, when Sony BMG removed him from the BMG chairmanship and shifted him to "chief creative officer." Davis's allies in the business, including Rod Stewart's manager, Arnold Stiefel, insisted the move was Davis's idea and that he'd be working as closely with artists as ever. Other sources, however, said more germane factors were Davis's large salary at a time of cost cutting and his refusal, at age seventy-six, to name a successor. Sony BMG's replacement for Davis was Barry Weiss, forty-nine, who had taken over as president of Zomba after Clive Calder left the company, and continued to break hit CDs from the likes of Chris Brown and T-Pain despite the industry's ongoing sales problems.
* In August 2008, Bertelsmann bailed out of the Sony-BMG merger, selling its 50 percent stake to Sony in a deal valued at $900 million. In August 2008, Bertelsmann bailed out of the Sony-BMG merger, selling its 50 percent stake to Sony in a deal valued at $900 million.
* On June 3, 2003, the FCC did, in fact, relax media-ownership rules. The commission lifted a twenty-eight-year rule disallowing a newspaper from owning a TV or radio station in the same market and allowed other broadcast companies to own more stations in general. This decision benefited Clear Channel, along with other large media companies. On June 3, 2003, the FCC did, in fact, relax media-ownership rules. The commission lifted a twenty-eight-year rule disallowing a newspaper from owning a TV or radio station in the same market and allowed other broadcast companies to own more stations in general. This decision benefited Clear Channel, along with other large media companies.
* Not every Warner executive was enamored of the CD. In his memoir Not every Warner executive was enamored of the CD. In his memoir Exploding, Exploding, thenWarner Music creative director Stan Cornyn writes, "At first, in '82, most folks in the American record business had figured that the CD was some kind of foreign trick." Robert Heiblim, president of the electronics company Denon at the time, recalls Cornyn, who had a reputation as a new-technology buff, being surprisingly skeptical. Heiblim also encountered especially harsh resistance from Atlantic's Ahmet Ertegun and executives at Arista (run by Clive Davis at the time) and A&M. Responds Cornyn: "I have been in the record industry known as a sassy speaker. So I may have sassed at one point onstage." Early on, Cornyn viewed the CD as one of an endless line of technologies pitched to labels as the next big thing. Later, David Horowitz called several Warner executives around his big blue conference table in New York to emphasize the CD. He deputized Cornyn to push it. "Therefore, I was slightly less sassy," Cornyn says. thenWarner Music creative director Stan Cornyn writes, "At first, in '82, most folks in the American record business had figured that the CD was some kind of foreign trick." Robert Heiblim, president of the electronics company Denon at the time, recalls Cornyn, who had a reputation as a new-technology buff, being surprisingly skeptical. Heiblim also encountered especially harsh resistance from Atlantic's Ahmet Ertegun and executives at Arista (run by Clive Davis at the time) and A&M. Responds Cornyn: "I have been in the record industry known as a sassy speaker. So I may have sassed at one point onstage." Early on, Cornyn viewed the CD as one of an endless line of technologies pitched to labels as the next big thing. Later, David Horowitz called several Warner executives around his big blue conference table in New York to emphasize the CD. He deputized Cornyn to push it. "Therefore, I was slightly less sassy," Cornyn says.
* In the October 2008 In the October 2008 Blender Blender, Oasis's Noel Gallagher talked trash on this subject: "Can I just point out that [1997's] Be Here Now Be Here Now did sell 9.5 million copies? If any band sells 9.5 million albums this year, I'll fucking shit in my trousers." did sell 9.5 million copies? If any band sells 9.5 million albums this year, I'll fucking shit in my trousers."
* In early 2008, a story landed in the In early 2008, a story landed in the Financial Times, Financial Times, citing unnamed sources, speculating that Jobs had come around to the idea of subscription sales. Apple refused to comment, and several sources interviewed for this book speculated that the citing unnamed sources, speculating that Jobs had come around to the idea of subscription sales. Apple refused to comment, and several sources interviewed for this book speculated that the Times Times article was a trial balloon floated by record executives. Regardless, as of mid-2008, Apple had yet to act on the subscription idea. article was a trial balloon floated by record executives. Regardless, as of mid-2008, Apple had yet to act on the subscription idea.
* The 360-degree deal isn't exactly new-indies from Motown to Zomba to Wind-Up have participated in a range of revenue streams beyond records for decades. But they've never been standard practice at the biggest record labels, which until recently didn't really need new revenue streams, given the strength of CD and LP sales. The 360-degree deal isn't exactly new-indies from Motown to Zomba to Wind-Up have participated in a range of revenue streams beyond records for decades. But they've never been standard practice at the biggest record labels, which until recently didn't really need new revenue streams, given the strength of CD and LP sales.
* As of mid-2008, Hands has made more news for hiring than firing, appointing high-tech experts like exGoogle executive Douglas Merrill and Second Life online-community pioneer Cory Ondrejka to top EMI posts. As of mid-2008, Hands has made more news for hiring than firing, appointing high-tech experts like exGoogle executive Douglas Merrill and Second Life online-community pioneer Cory Ondrejka to top EMI posts.
* One interesting but radical vision for the music business' future comes from McGill University visiting scholar Sandy Pearlman, once a prominent producer for Blue Oyster Cult, the Clash, the Dictators, and others. He talks about the "paradise of infinite storage." As computer data storage continues to grow in capacity and shrink in size, he believes, every music fan will simply carry a tiny chip filled with every song ever recorded. Once that happens, the record business as we know it is over. But he believes it will be possible for artists and labels to levy some kind of tax on the devices and generate a new business model. Unsurprisingly, today's label employees consider Pearlman a bit of a wacko. "I've brought this up," he says in an interview, "and it's always very disturbing to people who work in music." One interesting but radical vision for the music business' future comes from McGill University visiting scholar Sandy Pearlman, once a prominent producer for Blue Oyster Cult, the Clash, the Dictators, and others. He talks about the "paradise of infinite storage." As computer data storage continues to grow in capacity and shrink in size, he believes, every music fan will simply carry a tiny chip filled with every song ever recorded. Once that happens, the record business as we know it is over. But he believes it will be possible for artists and labels to levy some kind of tax on the devices and generate a new business model. Unsurprisingly, today's label employees consider Pearlman a bit of a wacko. "I've brought this up," he says in an interview, "and it's always very disturbing to people who work in music."
* To research this chapter, I visited former label executive Joe Smith, the good-natured raconteur, 1950s disc jockey, and should-have-been stand-up comic. (At one industry function, he reportedly made the following inspired introduction of the great Seymour Stein of Sire Records, who turned the Ramones, Blondie, Talking Heads, and Madonna into stars: "He is to the record industry what surfing is to the state of Kansas.") For an hour, I listened to Smith on a luxurious couch in front of the largest flat-screen television set I've ever seen in my life. Afterward, I stood in the large foyer of his beautiful home in Beverly Hills, preparing to leave. The retired, seventy-eight-year-old head of Warner, Elektra, and EMI shook my hand and said, "The business ain't full of Martin Luther Kings." To research this chapter, I visited former label executive Joe Smith, the good-natured raconteur, 1950s disc jockey, and should-have-been stand-up comic. (At one industry function, he reportedly made the following inspired introduction of the great Seymour Stein of Sire Records, who turned the Ramones, Blondie, Talking Heads, and Madonna into stars: "He is to the record industry what surfing is to the state of Kansas.") For an hour, I listened to Smith on a luxurious couch in front of the largest flat-screen television set I've ever seen in my life. Afterward, I stood in the large foyer of his beautiful home in Beverly Hills, preparing to leave. The retired, seventy-eight-year-old head of Warner, Elektra, and EMI shook my hand and said, "The business ain't full of Martin Luther Kings."
* Albert Brooks's character in 1991's Albert Brooks's character in 1991's Defending Your Life Defending Your Life memorably meets his demise attempting to tear open longboxes while driving. memorably meets his demise attempting to tear open longboxes while driving.
* Mariah Carey's eight-octave range is something of a canard. Media reports have placed her between four and eight octaves over the years, and I once made the mistake in a Mariah Carey's eight-octave range is something of a canard. Media reports have placed her between four and eight octaves over the years, and I once made the mistake in a Rocky Mountain News Rocky Mountain News concert review of repeating this information, leading to a flurry of emails between the managing editor and the entertainment editor. Snopes.com, the urban-myth-debunking website, believes eight octaves are impossible and Carey's range is probably closer to four. I guess it's just better to say, "She's a good singer." concert review of repeating this information, leading to a flurry of emails between the managing editor and the entertainment editor. Snopes.com, the urban-myth-debunking website, believes eight octaves are impossible and Carey's range is probably closer to four. I guess it's just better to say, "She's a good singer."
* Morgado did not respond to an interview request for this book; when he left in 1995, he touted the company's "strong growth trajectory" in a Time Warner press release, from $1 billion in revenues in 1985 to almost $4 billion. Morgado did not respond to an interview request for this book; when he left in 1995, he touted the company's "strong growth trajectory" in a Time Warner press release, from $1 billion in revenues in 1985 to almost $4 billion.
* Whether Levy knew about the Seagram sale during his meeting with Bronfman is in dispute among various sources. Cook believes he didn't, while Bronfman thinks he did. Levy did not respond to several interview requests. Whether Levy knew about the Seagram sale during his meeting with Bronfman is in dispute among various sources. Cook believes he didn't, while Bronfman thinks he did. Levy did not respond to several interview requests.
* DiSipio quickly disappeared. Isgro was sentenced in 2000 to 50 months in prison for loan-sharking; when he got out, the DiSipio quickly disappeared. Isgro was sentenced in 2000 to 50 months in prison for loan-sharking; when he got out, the Hoffa Hoffa producer secured the movie rights to the story of 1920s mobster Lucky Luciano. producer secured the movie rights to the story of 1920s mobster Lucky Luciano.