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Fortune's Fool: Edgar Bronfman, Jr., Warner Music, and an Industry in Crisis |  | Author: Fred Goodman Publisher: Simon & Schuster Category: Book
List Price: $28.00 Buy New: $13.75 as of 9/9/2010 16:13 CDT details You Save: $14.25 (51%)
New (26) Used (8) from $13.75
Seller: umalucky Rating: 3 reviews Sales Rank: 14,185
Media: Hardcover Pages: 336 Number Of Items: 1 Shipping Weight (lbs): 1.2 Dimensions (in): 9.3 x 6.4 x 1.2
ISBN: 0743269985 Dewey Decimal Number: 338.76178092 EAN: 9780743269988 ASIN: 0743269985
Publication Date: July 13, 2010 Availability: Usually ships in 1-2 business days
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Product Description In 1999, when Napster made music available free online, the music industry found itself in a fight for its life. A decade later, the most important and misunderstood story—and the one with the greatest implications for both music lovers and media companies—is how the music industry has failed to remake itself. In Fortune’s Fool, Fred Goodman, the author of The Mansion on the Hill, shows how this happened by presenting the singular history of Edgar M. Bronfman Jr., the controversial heir to Seagram’s, who, after dismantling his family’s empire and fortune, made a high-stakes gamble to remake both the music industry and his own reputation. Napster had successfully blown the industry off its commercial foundations because all that the old school label heads knew how to do was record and market hits. So when Bronfman took over the Warner Music Group in 2004, his challenge was to create a new kind of record executive. Goodman finds the source of the crisis in the dissolution of the old Warner Music Group, the brilliant conglomerate of Atlantic, Elektra, and Warner Bros. Records. He shows how Doug Morris, the head of Atlantic Records, rose through the ranks and rode the CD bonanza of the 1990s to enormous corporate and personal profit before becoming embroiled in an ego-driven corporate turf war, and how all of Warner’s record executives were blindsided when AOL/Time-Warner announced in 2003 that it wanted nothing more to do with the record industry. When the music group was finally sold to Bronfman, it was a ghost of itself. Bronfman built an aggressive, streamlined team headed by Lyor Cohen, whose relentless ambition and discipline had helped build Def Jam Records. They instituted a series of daring initiatives intended to give customers legitimate online music choices and took market share from Warner’s competitors. But despite these efforts, illegal downloads still outnumber legitimate ones 19–1. Most of the talk of a new world of music and media has proven empty; despite the success of iTunes, even wildly popular sites like YouTube and MySpace have not found a way to make money with music. Instead, Warner and the other labels are diversifying and forcing young artists to give them a cut of their income from touring, publishing, and merchandising. Meanwhile, the average downloader isn’t even meeting forward-thinking musicians halfway. Each time a young band finds a following through music websites, it’s a unique story; no formula has emerged. If one does, Warner is probably in a better position than anyone to exploit it. But at the end of the day, If is the one-word verdict on Bronfman’s big bet.
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| Customer Reviews: Fascinating on both counts - music and Bronfman August 8, 2010 Luigi Facotti (Chicago Il) 1 out of 1 found this review helpful
The demise of the music industry is a topic of continuing interest - Goodman's excellent book using Bronfman as the central theme - nicely captures the utter disregard for both the customer and artist, the genius of Steve Job's iTunes/iPod platform and the scramble - still in progress to redefine what the inevitably volatile music business will be in the future now that the big companies have milked all they can from reissuing everything they can on CD. I remember the period when Elvis' first recordings - titled the Sunrise collection - were rereleased by RCA every year with "newly" discovered material.
I was interested that one of Lyor Cohen's label heads had to scout strip clubs to understand what was happening in the music scene - says something about where society is going. Incredible amounts of money exchanging hands for trivial and thoughtless strategies. Goodman appropriately focuses on the central role of Ahmet Ertegun as the last of the old school of record and label makers.
As to Bronfman - he comes across as very wealthy with any ascribed successes coming from throwing enough against the wall that something sticks. $50 million bonuses and losing $130 million in 3 months trying something appear to be par for Bronfman's course. Wonder how he missed the Brooklyn Bridge.
As the other reviewer noted, the cast of characters lack the charm and idiosyncrasies of the record men of the 50s and 60s - Sid Nathan, Hy Weiss, Jerry Wexler, Berry Gordy etc. and the 80s not to ignore Malcolm McLaren. Not a business for the pure of heart.
Good book.
The Way the Music Died? Stay Tuned.........! July 13, 2010 Crescenzo C. Capece (NYNJPR) 3 out of 6 found this review helpful
The record industry has been a handy punching bag for fans and artists
for as long as I can remember.Many like to conveniently forget that marketing,as well as creativity ,has been just as important to the delivery of the music we love;without "the business" our lives would be lacking some of their most beloved soundtracks!
Fred Goodman's exciting new work grants us access to the thought processes
that not only brought the behemoth business to the heights it reached, but also the oversights and arrogance that may have now left it down for the count.
This is clearly a painstaking and passionately researched work; and it's obvious from the depth of insights provided here that the author was truly respected by many a powerful player featured herein.Considering the author's impressive background, and understanding of both the music and the commerce of music (and the success of his "Mansion On The Hill") this is not a surprise.A thoughful examination of how these organizations coped with a tech-foward world has been missing until now, and in "Fortune's Fool" we hear the story from all sides.
I found the history of the Bronfman family compelling,and the featured and determined Edgar Bronfman,Jr. in particular to be an exceptionally unique man of privilege.On the other hand,a few of the mega-successful music executives come off as mighty but charmless,and it is the details of these polarities that help make for a terrific and timely read.
The verdict on the future course of the "music business" may still be out,
but my guess is that "Fortune's Fool" will have a long and successful ride on the
bestseller charts. It certainly deserves to!
An inside look at the destruction of an industry August 15, 2010 W. D. Barnum (Columbia, SC United States) This book is well researched and the author got a number of the industry insiders to tell it like it really was, and is.
One factual point that was incorrectly reported was on page 34 where the author notes that Comcast pulled out of the cable joint venture with Alejandro (actually with Grupo Zubillaga) Zubillaga in 1994 and the plan collapsed. In reality, Comcast did not pull out until 1995 and the company (CableTel) continued, and was run by Alejandro as part of the set of Venezuelan communications companies he developed.
This book shows what happens when you have a vision of where an industry is going, but have the timing off, when you are at the bleeding edge of technology. If you don't control the technology, you can have exactly the right vision and still lose a bundle.
The book also points out many times that without real control in a venture, your investment can turn on the whim of the controlling party.
One is left wondering, without sufficient money coming in to record companies (due to the free and nearly free availability of music on the internet) where the funds will come from to develop the artists of tomorrow.
This book should be required reading by every business school in the country.
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