[ Read Online Ripped: How the Wired Generation Revolutionized Music · epic-poetry PDF ] by Greg Kot Ë nikeairmaxcheapuk.co

[ Read Online Ripped: How the Wired Generation Revolutionized Music · epic-poetry PDF ] by Greg Kot Ë While this book was a little business and numbers oriented than I m used to, it was very informational and interesting I learned a LOT about the music businessthat I could ve guessed at but never actually knew This book is now a bit old so I d definitely be interested in learning about what has changed since its publication But, I m glad I took the time to read through this book even though it took me a bit.
As the title indicates, Kot s book follows the digital revolution and it s impact specifically on the music business Being born in 1981 and fairly tech saavy, this is a revolution I fully participated in and continue to live through Kot did an excellent job capturing some of the key points in the timeline and explaining those events in clear terms without dumbing it down.
As a music downloader , I was surprised that Kot was able to recount events that I was unaware of, or had slipped under my radar Wilco s issues with Yankee Hotel Foxtrot in particular I was equally surprised when Kot missed other milestones NIN s free, download only release of The Slip , though he does cover their Ghosts I IV album that came out two months prior.
The book suffers from over indulgent passages on Wilco, Radiohead and Conor Oberst Admitte A Decade Ago The Vast Majority Of Mainstream Music Was Funneled Through A Handful Of Media Conglomerates Now, People Are Listening To Music From A Greater Variety Of Sources Than At Any Time In History And Big Corporations Such As Viacom, Clear Channel, And Sony Are No Longer The Sole Gatekeepers And Distributors, Their Monopoly Busted By A Revolution An Uprising Led By Bands And Fans Networking On The Internet Ripped Tells The Story Of How The Laptop Generation Created A New Grassroots Music Industry, With The Fans And Bands Rather Than The Corporations In Charge In This New World, Bands Aren T Just Musicmakers But Self Contained Multimedia Businesses And Fans Aren T Just Consumers But Distributors And Even CollaboratorsAs The Web Popularized Bands And Albums That Previously Would Have Been Relegated To Obscurity, Innovative Artists From Prince To Death Cab For Cutie Started Coming Up With, And Stumbling Into, Alternative Ways Of Getting Their Music Out To Fans Live Music Took On An Even Significant Role TV Shows And Commercials Emerged As Great Places To Hear New Tunes Sample Based Composition And Mash Ups Leapfrogged Ahead Of The Industry S, And The Law S, Ability To Keep Up With Them Then, In , Radiohead Released An Album Exclusively On The Internet And Allowed Customers To Name Their Own Price, Including Radiohead S It S Up To You Marketing Coup Seized On A Concept The Old Music Industry Had Forgotten The Customer Is Always RightNational Radio Host And Critically Acclaimed Music Journalist Greg Kot Masterfully Chronicles This Story Of How We Went From To In Less Than A Decade It S A Fascinating Tale Of Backward Thinking, Forward Thinking, And The Power Of Music In honor of the recent Grammy week in L.
, we thought it would be a good time to touch base with Greg Kot s recent book, Ripped How the Wired Generation Revolutionized Music Kot, the music critic for the Chicago Tribune and co host of the syndicated radio show Sound Opinions, chronicles all the major events of the past decade relating not so much to the so called decline of the music business, but the way in which smart and clever artists have made new and interesting uses of the technology that some would say is at the root of the problem for the music business Ripped is the first book that we ve seen that covers nearly all of the major developments in the tech music revolution and does so without the often veiled accusations and pejorative tone that surrounds mu Greg Kot s new book examines the role of king maker as the music industry shifts from local radio to the age of Clear Channel to the MP3 era with a clear time line, a mix of public knowledge and behind the scenes interviews, and an optimistic view of American music s future for a concise overview of 21st century music trends.
Kot is at his best when talking about the emergence of Wilco and Arcade Fire, two bands that benefited greatly from early internet exposure The chapter detailing the rise of Pitchfork magazine and how its grassroots approach to music reviews transformed it from an indy sensation to internet voice of power shows the double edged sword which is the pluralistic voice of the net.
I could have done without the rehash of Napster s rise and fall since it Kot examines the influence of the internet on the music industry, portraying the behemoth record companies as the Goliath that have fallen against the stones of the artists and fans that have harnessed the power of the internet to transform the way music is made and distributed Specific chapters include the stories of Metallica, Arcade Fire, Death Cab for Cutie, Prince, Conor Oberst, Radiohead, and Pitchfork Media as examples of the various ways technology changed things While at times the portrayal of the record executives as stone age era businessmen who could not adapt becomes overwrought it is likely that the record industry was like the U.
S economy an oversize ship that couldn t just be turned on a dime , the over Kot examines the role technology has played in shaping the music industry and how these entities Internet, MP3s, MP3 players, music software, etc have come to replace CDs, records, instruments, the snobby knowledgeable friend Kot s arguments are well researched and his catalogue of quotes from artists, producers, managers, lawyers, and fans make an obvious case against the record label management juggernaut, which by all accounts is not giving any favors to the artists At times, the writing is loose, arguments trite and chapters meandering from one point to the next However, Kot, a music critic, really hits his stride when describing the music He becomes nearly lyrical as he describes Death Cab s Transatlanticism album, the complexities of overlaying samples on Girl Talk s The Night Ripper and many others His love for music really shines through these descript

Biased, misleading, and worst of all, ignorant of the basic principles of business and economics.
Ripped is a decent basic overview of the digital revolution but Kot completely avoids the negative consequences of illegal file sharing from the small artist s perspective, preferring instead to point out the admittedly hysterical reaction of the Big 5 and RIAA But the real victims of illegal file sharing are regular working musicians For every success story like the Arcade Fire or Death Cab For Cutie, there are a thousand other bands that will die on the vine because of illegal file sharing In the past, these niche bands were able to survive by cultivating a dedicated audience that would pay for recordings but at this point an entire generation of music fans has grown up with the notion that paying for music is for suckers This has resulted in good bands with a decent fan base simply being unable to record at the rate An excellent look at the rise of digital music It s fascinating to hear about different artists attempts to circumvent record companies, the necessary evils of traditional distribution and marketing Kot does a great job of providing different examples of artists innovation in this well researched, compelling book.

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