Part 13 (1/2)

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 b.u.t.t 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 s.h.i.+ner Bocks at the top of a parking garage someplace in Austin. Several sources were kind enough to review technical pa.s.sages, 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 friends.h.i.+p 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 bulls.h.i.+t-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 s.p.a.ce 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, Mich.e.l.le 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 Ha.s.selbach, 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 Was.h.i.+ngton, 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 a.s.sociation 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 s.h.i.+fts 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 Was.h.i.+ngton Post The Was.h.i.+ngton 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 Ra.s.senfoss 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 Inst.i.tute, 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 Inst.i.tute, 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-s.h.i.+rts 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-s.h.i.+rts 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 pa.s.sed. 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 pa.s.sed. 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.