
From 1713's first copyright laws to today's streaming wars, legendary manager Simon Napier-Bell exposes music's shadiest dealings. Ever wonder how technological revolutions repeatedly transformed an industry built on exploitation? This insider's account reveals why the tune remains the same - the money always wins.
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Picture a cramped office where power plays out through humiliation. Mike Stewart, president of United Artists Music, forces his sidekick Murray Deutch to get an unnecessary shoeshine-not because his shoes need it, but because he can. This wasn't cruelty; it was Tuesday in the music business. The year was 1966, and this jelly-like executive wanted young manager Simon Napier-Bell to join his stable of songwriters trapped in the Brill Building's tiny rooms, churning out hits like factory workers. Napier-Bell walked away, but the scene haunted him. Managing The Yardbirds meant navigating an industry he didn't understand-an industry built on a foundation most people never question: someone can own a song. Not the recording, not the performance, but the song itself. This simple legal principle, established in 1710 when Britain's Statute of Anne declared that written works could be owned as property, created an entire ecosystem of hustlers, visionaries, and artists. What began as a fourteen-year monopoly on sheet music evolved into a global business that would shape culture, exploit talent, and occasionally produce magic.
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