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This book is a fairly dry blow-by-blow of the creation of Ethereum, based on interviews with many of the people involved. It's fairly dull. Almost everything that happens in this book is given a positive spin. A few paragraphs close to the end are devoted to describing what essentially amounts to a payday loan via an app powered by Ethereum. Nothing is remarkable about the loan other than the way the money is transferred, but it's presented as a revolution in finance where everyone is happy with the result.

The book describes multiple security exploits and attacks, but uncritically papers over the flaws inherent in the design of the network (and the obvious failures of the developers to plan for abuse) by lauding the hacker skills involved in rescuing the network from destruction.

There's some things that were vaguely interesting here. Occasionally the author will veer into questions about the speculative nature of crypto, the environmental aspect, the commodification of everything, web3,and so on, and implies that some of the people involved are also struggling with these questions. But that exploration never gets very deep, and is often no more than a sentence or two followed by a bunch of exuberance about crypto.

After I was finished with the book, I discovered that the author is turning it into a movie, being funded/produced with NFTs, so I guess that tells you something about the voice here.

This is a book about how society -- specifically musicians and music lovers -- deals with the fallout of a terrorist attack and some sort of deadly pandemic (the specifics are never really described). The book was published in late 2019, and a couple months later, musicians and music lovers were dealing with a deadly pandemic, so there's a lot of articles and reviews out there that describe it as a very apt and timely book.

But it did not work for me. For awhile I couldn't figure out what clanged for me, but ultimately I think my main issue is that it manages to paint the picture of a dystopia that is less dystopic than our current dystopia.

In the book, "anti-congregation" laws have been passed to protect people from disease and maybe terrorist attacks (that element gets dropped pretty quickly). It's unclear why these laws are still in place -- is the pandemic still happening? It doesn't seem like it from the plot. It's also not clear how these laws work -- a law preventing people from gathering is obviously a real problem, but it's also clear from the plot that restaurants still exist, public transit exists, and people are obviously allowed to meet up in real space, so is it only concerts and other large events like that which are banned? Ultimately the concept of a law like that seems ridiculous not because I don't think it could happen, but because it doesn't make any real sense in the context of the book.

The main antagonist of the book is a company called StageHoloLive -- it's basically hologram live-streaming concerts. The book focuses on two people -- a musician who scrapes together a career by running illegal concerts, and a music fan who starts working for SHL as a talent scout. SHL offers musicians contracts, then they call the cops to get them to shut down illegal concert spaces, so that they don't have any competition for their streams. They also definitely have a generic family-friendly sort of feel, so any edgy, political, or unusual artists get pushed to the side.

That's an interesting kernel of an idea for a story, but it isn't really developed, and I feel like it basically ignores the fact that musicians and artists are already fucked, and they were before the pandemic. Streaming services have been screwing artists for over a decade, concert halls have been jacking them for longer than that, and managers and labels have been screwing them for a century. I feel like this book would've been more compelling if it was set in current times, but with Spotify as the main villain.

It also falls into the classic trap of assuming that music is better, and only really worthwhile, when experienced live and in person. Live performances, and live events in general really, can obviously be very powerful experiences, and certainly different from experiencing something recorded or not live. But not everyone feels that way, many people have experienced traumatic events at performances, many people don't feel comfortable at live events for any number of reasons, and many people don't have good access to live music or the means to attend concerts even if they want to.

Anyway, I'm rambling. This book wasn't all bad, but overall I didn't really like it.