by Bruce Jackson. Published by Atria Books, an imprint of Simon & Schuster. Copyright © 2023 by Bruce Jackson. All rights reserved.In the late 1990s, the digital revolution pushed the music business into a state of flux. And here was Tony Dofat, sitting in my office, apoplectic, talking about how to stop Napster and other platforms from taking the legs out from under the traditional recording industry.
In fact, lawsuits, spearheaded by Metallica and others, the chosen mode of defense in those early days of the digital music onslaught, only served to embolden consumers and publicize their cause.These were terrifying times for artists and industry executives alike. A decades-old business model had been built on the premise that recorded music was a salable commodity.
Thus, the music itself has been turned primarily into a marketing tool used to entice listeners to the product: concert and festival tickets, and a social media advertising platform. It is a much tougher and leaner business model. Additionally, it is a model that changed the notion that record labels and producers needed only one decent track around which they could build an entire album.
But there were downsides, as well. For one thing, I was recently married, with a one-year-old baby and a stepson, living in a nice place in the New York City suburbs. I wasn’t eager to leave them—or my other daughters—three thousand miles behind while I moved to Microsoft’s headquarters in the Pacific Northwest. From an experience standpoint, though, it was almost too good an offer to turn down.
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