Music industry Books

Book SynopsisA beautiful coffee table art book chronicling the extraordinary collaboration between Debbie Harry and H.R. Giger for Harry's 1981 solo album KooKoo. When the visual artist H.R. Giger, best known for his biomechanical creature and set design for seminal 1979 sci-fi-horror film Alien, encountered Debbie Harry, the punk icon and lead singer of globally successful New Wave band Blondie, the results were sublime. The artwork for Harry's 1981 debut solo KooKoo album cover was deemed so frightening it was originally banned on the London Underground. The fantastical videos for two of the tracks on the album, 'Backfired' and 'Now I Know you Know,' featured Giger himself piercing an Egyptian sarcophagus and a newly brunette Harry reimagined as a xenomorphic Giger creature. With photographs and words by Chris Stein, Harry's long-term collaborator, artefacts and sketches from the Giger archive, and an introduction by Debbie Harry, this is an essential behind-the-scenes insight into the processes of an incredible creative partnership.

Read more less

Book SynopsisAre you interested in learning how to cultivate sustainable success in the popular music industry whilst prioritising your health? If so, this book is for you. Inside you'll find research-informed advice and information that aims to help musicians, as well as those that work with them, navigate their way through what can be a challenging and demanding industry.This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You''ll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career.Expect original interviews with leading researchers, health experts, business execs and a host of famous musicians. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate guide for both seasoned

Read more less

Book SynopsisThe highly acclaimed dual biography of father and son Tim and Jeff Buckley, two of the most enduring musical icons of the late 20th-century When Jeff Buckley drowned in 1997, the music world was shaken to its foundations, not least because of the echoes of his father Tim’s demise. He too had been a brilliant and innovative musician with an extraordinary five-octave voice; and he too had died young, twenty-eight in fact, after an accidental drugs overdose. But there the similarities end. Jeff hardly knew Tim, spending little more than a few weeks with him as a boy. Their careers were very different, Tim releasing eight albums in his lifetime, including the beautiful HappySad and the extraordinary and still out-there Starsailor, while Jeff released just one – the brilliant Grace, generally acknowledged as one of the great albums of the 1990s. More than just a biography of two musicians, Dream Brother is the story of what happens when The Business hooks up with The Artist, ultimately to neither’s benefit.Trade Review‘Are the Buckleys the Kennedys of rock ‘n’ roll – talented but cursed?…A highly accomplished, dual biography by the well-respected writer David Browne has dug deep into both men's lives and the entire Buckley family history to throw some light on this enigmatic tale. Extensively researched and featuring previously unpublished letters and diaries, Dream Brother does a great service to the legacy of these two talented musicians.’ Irish Times ‘David Browne is a sensitive and committed writer eminently qualified to write the book his subjects so richly deserve…There is a wealth of detail and a series of memorable vignettes which will fascinate those who have embraced “Starsailor” and “Blue Afternoon” or “Grace and Live At Sin-E” as part of their lives.’ Uncut ‘A rich and moving portrait of two damaged, gifted people.’ Esquire

Read more less

Book Synopsis'An adventurer, an entrepreneur, a buccaneer, a visionary' - BONOAs the founder of Island Records, fabled music producer Chris Blackwell has discovered and worked with some of the most important musicians of the second half of the twentieth century - from Steve Winwood to Cat Stevens, Bob Marley to Grace Jones, U2 to Roxy Music, plus countless others. He is also widely credited with having brought reggae music to the world stage.Now, as reflects on his life, Blackwell takes us back to the island where it all began: Jamaica - the place where his family once partied with the likes of Noël Coward, Ian Fleming and Errol Flynn and where, as Jamaican local music began to adopt contemporary American trends, Blackwell's burgeoning musical instincts flourished. It was also the birthplace of the now-legendary Island Records, founded by Blackwell in 1959.Five years later, while living in London selling Jamaican records to Caribbean immigrants, Blackwell came across the vocal talents of teenager Millie Small, who he paired with the song 'My Boy Lollipop'. The producer added a ska beat and released what would be a worldwide hit.But this was just the beginning of a truly remarkable career. In this fascinating memoir, including up to fifty photos supplied by Blackwell's team, the music icon will discuss the many artists he's worked with over the years, as well as unpicking the initiatives, decisions and risks that ultimately brought such success to both Blackwell and his esteemed musical collaborators.Trade Review'As you're about to find out through the pages in this book, Chris Blackwell - who looms large in U2's life and was in fact our lifeline into the music world - is an adventurer, an entrepreneur, a buccaneer, a visionary and a gentleman. I'm proud to know him.' -- BONO'C.B. had this way of throwing me in the deep end knowing that I would thrive on being challenged. As you'll read in The Islander, he knows how to get the very best out of people - he's a mover and a shaker and a mischief-maker.' -- GRACE JONES'I read Chris Blackwell's autobiography in one sitting, unable to tear myself away. From "My Boy Lollipop" and Bob Marley, via Swinging London and punk, all the way to Talking Heads and U2, I felt like I was reading the inside story of the music of my life.' -- SALMAN RUSHDIE'A thoroughly quotable autobiography, a book that's hard to put down. ****' * MOJO *'Fascinating. 8/10' * UNCUT *'A rip-roaring yarn, the ultimate behind-the-scenes insider look at the coolest label ever on the planet.' * THE QUIETUS *'Fascinating autobiography of the Island Records founder. The Islander is a treasure.' * PROG *'Highly recommended.' * KIRKUS *'There are amazing insights. If you want to know how it was...read The Islander.' -- BOB LEFSETZ'Highly readable' * The Guardian *'Highly entertaining, rapid fire, hard to put down memoir' * Air Mail *'If you're even a minor fan of music books....buy this autobiography. Fascinating' * Variety *'A compelling autobiography' * The Observer *'A compelling juicy book' * The Irish Times *'An absorbing read' * Echoes *'An extraordinary story and a wonderful book. It couldn't be more enthusiastically recommended' -- Mark Ellen * Word in Your Ear *

Read more less

Book SynopsisJim Simpson of Big Bear Records has been involved in the music business for nearly 60 years, as musician, bandleader, promoter, record producer, festival director, manager, journalist and photographer. In his candid, constantly surprising, frequently amusing and occasionally shocking account you will encounter the joys and difficulties of managing Black Sabbath or of running a jazz festival in sun-kissed, crime-ridden Marbella. At home in Birmingham meet some of the characters who have enlivened 35 years of the Jazz Festival and read Jim's take on the scandals that closed the city’s premier jazz club. Revisit the exciting Brum Beat scene, take to the road with some 40 of the best (in some cases, most eccentric) American bluesmen of the 1970s, encounter the Blues Brothers Band in surprising places and enjoy Jim's tributes to some of the great names in British jazz, such as Humphrey Lyttelton and Kenny Baker, with whom he worked closely.

Read more less

Book SynopsisTo this day, they were, their fans believe, the best band in the world. Critics and sales figures told a similar story. Yet for all their brilliance and adoration their famously energetic live shows routinely interrupted by stage invasions The Smiths were continually plagued by their reticence to play the game, and by the time of 1987's Strangeways Here We Come, they had split. Tony Fletcher's A Light That Never Goes Out part celebration, part paean moves from Manchester in the nineteenth-century to the present day to tell the complete story of The Smiths. The product of extensive research and unprecedented access, it will serve to confirm The Smiths as one of the most important and influential rock groups of all time.Trade Review[A] meticulous biography…This exhaustive, well-researched account brings fresh detail and thought to the party. * The Sunday Times *A finely judged re-telling of a remarkable tale with valuable first-hand accounts of the band’s American adventures, their rapid development into a wonderful live act, plus insights into the spiralling pressures and frictions that faced the individual band members. * Sabotage Times *An exhaustive labour of love that was three years in the writing but which will be lapped up by fans of the band...written with a real sense of love and affection for the group who, though they were only together for a mere five years, tilted the world on its axis to a degree not seen since the heyday of the Beatles and the Stones…Fletcher is excellent when it comes to widening the view to include the cultural and historical factors behind the band's emergence and the city from which they came. * Irish Independent *The story of the Smiths told on the basis of interviews with just about every surviving participant in the Smiths' story. As the story winds on, a chain of no-shows, fits of pique and self-sabotage ... reaches its denouement with an episode from April 1987, just prior to the band's formal break-up. Fletcher is the first writer to have got the full story. Such material highlights the extent to which Fletcher has done his research. * Guardian *Tony Fletcher’s account is a highly enjoyable way of revisiting [the] story. Crucially, he avoids areas well-served by other Smiths tomes and brings sufficient new material to reward even well-read fans…It’s a tale that’s been told before, but in his biography of the Manchester four-piece Tony Fletcher reveals new details and brings new depths to the story of Morrissey, Marr, Rourke, Joyce and the birth of the band. * Mojo *

Read more less

Book SynopsisTony Christie has topped the charts in countries all around the world with `Is This The Way To Amarillo', `I Did What I Did For Maria', `Avenues & Alleyways' and has achieved critical acclaim for his more recent works with Richard Hawley and Jarvis Cocker. Tony's albums have achieved several Gold and Platinum discs and he was the only singer in 2005 to have a single release and album simultaneously at Number 1. Now for the first time Tony tells of his illustrious, colourful career that started in the small South Yorkshire town of Conisbrough and today sees him as a singing legend with fans throughout the globe. It is a story packed with emotional and financial highs and lows, fantastic characters and Tony's deep-rooted love of family. If you thought you knew Tony Christie you will now as he opens up about his loves, his sorrows and his amazing life! TONY CHRISTIE The Song Interpreter is the official autobiography of an icon in popular music whose voice sounds as good today as when he first hit the charts in 1971.

Read more less

Book SynopsisFor almost 30 years as label boss, producer, and talent conductor at XL Recordings, Richard Russell has discovered, shaped and nurtured the artists who have rewritten the musical dictionary of the 21st century, artists like The Prodigy, The White Stripes, Adele, M.I.A, Dizzee Rascal and Giggs. LIBERATION THROUGH HEARING tells the remarkable story of XL Recordings'' three decades on the frontline of innovation in music, and Russell''s own story; his highs and lows steering the fortunes of an independent label in a rapidly changing industry. This is the portrait of a man who believes in the spiritual power of music to change reality, and of a label that refused to be categorised by genre.''Taking us from the rap 80s to the rave 90s into the grimy 21st century, Richard Russell is a Firestarter in his own right and his story is a riveting adventure'' Simon Reynolds''Russell reveals his forensic love of music and its strategies. A fascinating read'' DamoTrade ReviewI love XL. I use them as an example of how a brand is built. On great taste -- Jay ZRussell reveals his forensic love of music and its strategies. A fascinating read -- Damon AlbarnRichard Russell's vision as a producer and guru to countless artists has always been progressive. This memoir is required reading for anyone who cares about the recent history of British music -- Gilles PetersonIf sound is the fifth element, then Richard has nurtured and enhanced some of the most important soundwaves of our time -- M.I.ATaking us from the rap 80s to the rave 90s into the grimy 21st century, Richard Russell isa Firestarter in his own right and his story is a riveting adventure -- Simon ReynoldsRich is the fucking boss. Man has no shoes on -- GiggsThe music business is full of kneejerk hyperbole, but XL Recordings, the independent London label run by Richard Russell, remains the most extraordinary enterprise ... a refreshing account of how a tremendously successful record aficionado gradually worked his way round to a kind of Zen humility -- Kitty Empire * Observer *The book is a hugely enjoyable personal trip through Russell's life as a producer, artist and label boss. * Electric Sound *

Read more less

Book SynopsisOnce conduits to new music, frequently bypassing the corporate music industry in ways now done more easily via the Internet, record stores championed the most local of economic enterprises, allowing social mobility to well up from them in unexpected ways. Record stores speak volumes about our relationship to shopping, capitalism, and art. This book takes a comprehensive look at what individual record stores meant to individual people, but also what they meant to communities, to musical genres, and to society in general. What was their role in shaping social practices, aesthetic tastes, and even, loosely put, ideologies? From women-owned and independent record stores, to Reggae record shops in London, to Rough Trade in Paris, this book takes on a global and interdisciplinary approach to evaluating record stores. It collects stories and memories, and facts about a variety of local stores that not only re-centers the record store as a marketplace of ideas, but also explore and celebrate aTrade ReviewA great, authoritative deep dive into the global social history of establishments which its editors ... describe as “subcultural space... clubhouses for music fanatics... [and] genre-specific sanctuaries for ‘outsider communities'”. ... You can almost smell the racks as you read. * Record Collector *Record stores have been my support group, downfall, family room, grad school, sociological experiment, clubhouse, bank, ashram, ashtray and alibi for over fifty years—apart from playing music, it’s all I know. This book is right up my alley and likely yours as well. * Peter Holsapple, Continental Drifters/The dB’s *The next best thing to going to a record store is reading about them. This is a fascinating study and I particularly enjoyed its international aspect from Christchurch to Teheran. We are all united by this unique subculture. * Geoff Travis, Founder of Rough Trade Records, UK *Mixing memoir, history, and sociology, The Life, Death, and Afterlife of the Record Store is an unparalleled paean to the record store as a vital community resource that links local listeners to global flows of music, culture, and capital. Required reading for discophiles of all stripes. * Steve Waksman, Author of Live Music in America: A History from Jenny Lind to Beyoncé, Elsie Irwin Sweeney Professor of Music, Smith College, USA *This fascinating anthology proves that record stores have long been so much more than places to buy records. Essays document their important role as cultural actors who call communities and genres into being, play important roles in politics and national musical cultures, promote tourism, spread music around the globe, and continue through dark times. Viva la Record Store! * Norma Coates, Associate Professor, Western University, Canada, and President, US Branch, International Association for the Study of Popular Music *Table of ContentsIntroduction Prologue: The Record Store That Saved My Life Mark Trehus, Independent Scholar/Record Store Owner, USA Part 1: Record Stores as Community 1 “We ‘Bout it ‘Bout it”: The Independent Record Store in Post-Katrina New Orleans Jay Jolles, College of William and Mary, USA 2 Firecorner: The Importance of Reggae Record Shops in Black London and the Cultural Confluence of West Indian Music Kenny Monrose, Cambridge University, UK 3 Journey of a Girl in a Plaid Skirt and Knee Socks Holly Gleason, Independent Scholar, USA 4 The Cult of the Record Bar Stephen Shearon, Middle Tennessee State University, USA 5 Magic in Here: Brisbane’s Alternative Record Stores From the 1970s to the Digital Age Ben Green, Griffith University, Australia 6 High Fidelity Across Twenty-Five Years: Record Shops, Taste, and Streaming Jon Stratton, University of South Australia, Australia 7 Reflections from the Girls Behind the Counter: Women and Independent Record Stores Lee Ann Fullington, Brooklyn College CUNY, USA Part 2: Cultural Geography of Record Stores 8 “Ways of living”: Touristification and Gentrification in Spanish and Portuguese Record Shops Fernán Del Val, Universidad Nacional de Educación a Distancia, Spain 9 Living Popular Music in “high fidelity:” Portugal’s Independent Record Stores 1998–2020 Paula Guerra, University of Porto, Portugal 10 Music on the Turntables When the Tables are Turning: A History of Record Stores in Romania from Late Socialism to the Present Claudiu Oancea, New Europe College, Romania 11 Jazzhole: How a Record Store Became the Lone Priest of Nigerian Oldies’ Pop Culture Eromo Egbejule, Malmö University, Sweden 12 The Influence of Imported Records and their Stores on the History of Popular Music in Japan Ken Kato, Osaka University, Japan 13 Recording the Irish Experience: The Record Shop and Fair as Archive Paul Tarpey, Limerick School of Art and Design, Ireland 14 The Revolution Will Not Be Televised, It Will Be Taped: Popular Music Acquisition in Pre- and Post-Revolution Tehran Lily Moayeri, Independent Scholar, USA Part 3: Sites for Fandom and Performance of Subcultural Capital 15 Making Indie Noises in the Corporate Outlet: Beating Capitalism at Its Own Game Roy Montgomery, Lincoln University, New Zealand 16 Rip Off Records (Hamburg) and the Microhistory of Capitalism Karl Siebengartner, Independent Scholar, Germany 17 Soul Bowl: Rare Soul Uncovered Christopher Spinks, University of East Anglia, UK 18 Lucky Records – Music Makes the People Come Together Mariana Lins, Federal University of Pernambuco, Brazil 19 Rough Trade Paris (1992-1999): The History of a Scene Jean Foubert, LARCA Université Paris-Cité, France 20 Musicians in the Record Store: Celebrity Encounters Through Amoeba Music’s What’s in My Bag? Christine Feldman-Barrett, Griffith University, Australia 21 “Contents Expected to Speak for Themselves:” A Preliminary Understanding of North American Self Service Record Retail Tim J. Anderson, Old Dominion University, USA 22 Lost in the Booth: British Record Store Listening Booths as Atmospheric Sites of Intimacy Peter Jachimiak, University of South Wales, UK Contributors Index

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisMichael Joseph Jackson (August 29, 1958 - June 25, 2009), dubbed the 'King of Pop', was one of the most commercially successful entertainers of all time. After making his debut in 1964 as a member of The Jackson 5, he started a solo career in 1971. His 1982 album Thriller remains the best-selling album of all time. His other achievements feature multiple Guinness World Records - including the 'Most Successful Entertainer of All Time' - 13 Grammy Awards, 13 number one singles, and estimated sales of over 750 million records. Jackson died at the age of 50 on June 25, 2009, in Los Angeles, California after suffering from cardiac arrest. His memorial service was broadcast live around the world.Trade ReviewIf you read just one book on Jackson, this should be the one you choose * The Sun *A revealing and now poignant insight into one of entertainment's most bewildering individuals * Sport magazine *

Read more less

Book SynopsisAfrobeats is a fast-growing genre, one that has carved out a distinct and powerful Black identity rooted within the African continent.The first book of its kind, A Quick Ting On: Afrobeats chronicles the social and cultural development of the eponymous music genre, tracing its rich history from the African continent all the way to the musical centre of the Western world.This exciting new book takes a unique look at the music of the African diaspora and their children, delving into how Afrobeats and its sub-genres have provided new articulations of Black identity and pride. It remembers the Afrobeats pioneers and memorable cultural moments, as well as investigating the impact of African migration, travel and modernisation on the genre.A Quick Ting On: Afrobeats provides an insightful look at how Afrobeats became the explosive music genre it is today.Table of Contents 1: My Personal Relationships with Afrobeats 2: Fela and Afrobeat–The Man And The Music 3: Hiplife–Fusion and Cutlure 4: Wxmen in Afrobeats 5: The Skanking Era–UK Funky House 6: Is It Really Everyday Dance? 7: The Sonic Creators: Music Producers 8: Afrobeats (Yes, With An S) 9: Diasporic sounds, Afro-suffixes and everything in between 10: Homecoming And The Future

Read more less

Book SynopsisHow do you make a song into a global smash hit that is guaranteed to make millions? Read The Song Machine and find out!From Tin Pan Alley and Motown to Rihanna and Taylor Swift, manufactured music has existed since the record industry began. But who are the hit-manufacturers that can create a tune that is so catchy, so wildly addictive, that it sticks in the minds of millions of listeners? In The Song Machine, John Seabrook dissects the workings of this machine, travelling the world to reveal its hidden formulas, and interview its geniuses the hitmakers' at the centre of it all. Hilarious and jaw-droppingly shocking, this book will change how you think and feel about music, as well as how you listen to it.Revelatory, funny, and full of almost unbelievable details', Eric Schlosser, author of Fast Food NationAs addictive as its subject' Sunday Times Trade ReviewRevelatory, funny, and full of almost unbelievable details -- Eric Schlosser, author of 'Fast Food Nation'As addictive as its subject * Sunday Times *A gripping investigation of modern hitmaking… Seabrook’s writing is as sleek and swift as a dolphin * New Statesman *This is a fascinating tale about an amazing phenomenon -- Walter Isaacson, author of 'Steve Jobs'Seabrook subtly explores not only the insides of a song, but how a song gets inside us * Observer *Revealing, frightening, funny and unsettling -- Roddy DoyleSeabrook’s book takes the reader into a hidden world behind some of the most high-profile cultural products of the era * Guardian *A highly engaging narrative * Economist *Weaving its way through two-and-a-half decades, one of The Song Machine’s greatest achievements is to situate the pop song within a shifting matrix of technological evolution, diminishing revenue streams, and warring egos * Independent *Seabrook takes us on a lucid and well-researched tour of the places where modern hits are created -- Peter Clark * Literary Review *

Read more less

Book SynopsisVoices for Change in the Classical Music Profession lays the groundwork for empirically-founded, theoretically-informed, and practice-based approaches to tackling inequalities in the classical music profession.Trade ReviewVoices for Change in the Classical Music Profession: New Ideas for Tackling Inequalities and Exclusions, implies that rather than wholly a new approach, diversity has long been an implicit theme of the lyric stage. * Opera Now Magazine *The classical music industry is finally beginning to grapple the issues of diversity, equality, and justice. But what are the real issues, barriers, and stakes? With a combination of empirical data, incisive analysis, and first-person voices on the ground, this immensely important volume pushes the debate far beyond benevolent inclusion and token diversity to reckon with the societal, economic, and institutional underpinnings of 'classical music. * Mari Yoshihara, Professor of American Studies, University of Hawai'i *Finally, a volume that tackles the issue of inequality in classical music. Compelling and beautifully curated, this is a must-read for anyone who cares about the future of music and those who work within it. * Professor Dawn Bennett, Assistant Provost, Bond University and Founder of the Employ-ability Initiative *A closed world of elite artforms, whether for performers or for audiences, is not a sustainable future for the cultural sector. How to open up the arts is a crucial question. Voices for Change in the Classical Music Profession is essential reading for anyone hoping that classical music, and indeed many other parts of the cultural world, can be open to all. * Dave O'Brien, Professor of Cultural and Creative Industries, University of Sheffield *Table of ContentsIntroduction Anna Bull and Christina Scharff PART I THE MAKING OF CLASSICAL MUSICIANS 1. Class and Gender Inequalities in the Recruitment of Classical Musicians: Reflections on the Case of Italian Music Conservatoires Clementina Casula 2. The Role of Music Conservatoires in the Making of Classical Music Careers Rainer Prokop and Rosa Reitsamer 3. Social Inclusion in Contemporary British Conservatoires: Alumni Perspectives Jennie Joy Porton 4. Inside Looking In: Strategies to Counteract Misconduct in Artistic Teaching within Higher Music Education David-Emil Wickström PART II PROBLEMATIZING INSTITUTIONAL CHANGE 5. (Un)settling Institutional Hegemony: Challenges of Diversity Strategies in the "Western" Classical Music Sector Kristina Kolbe 6. "To Share Music with Children": The LA Phil and Neoliberal Philanthropy in Inglewood Mina Yang 7. A Critical Perspective on Diversity and Inclusion in US Classical Music Discourse Marianna Ritchey 8. Staging a Loose Canon: Scripture, Tradition, and Embedded Exclusion in Opera Production Caitlin Vincent 9. Disability Representation in Opera Charlotte Armstrong PART III MARGINALIZED VOICES 10. Gender and Class: An Account of a Female Percussionist in the Classical Music Industry Beth Higham-Edwards 11. Making Space for Disability and Music to Interact: An Interview with Composer Oliver Vibrans Oliver Vibrans 12. Black on the Podium: An Interview with Conductor Brandon Keith Brown Brandon Keith Brown 13. Creolization, Mixing, and Plurality: An Interview with Composer Hannah Kendall Hannah Kendall PART IV RACIAL INEQUALITIES 14. The New "Yellow Peril" in "Western" European Symphony Orchestras Maiko Kawabata 15. Irreconcilable Senses of Belonging: Transnational Japanese Artists in the Quest for Authenticity in the World of Classical Music Beata M. Kowalczyk 16. [Re- ]training Classical Musicians Toward Polymusicality and Hybridization: An Interview with Jon Silpayamanant Jon Silpayamanant 17. Inclusion and Diversity in the Early Music Scene in the US: A Conversation with Patricia Ann Neely Patricia Ann Neely 18. On Leaving Classical Music: An Interview with Anthony Gray Anthony Gray PART V ACTIVISM STARTING WITH THE SELF 19. (Dis)orient Yourself!: Disrupting White Ontologies in Classical Music Eleanor Ryan 20. Everyday Bridges: A View from the Field Cayenna Ponchione-Bailey 21. Illuminating Women's Music: Exploring the Canonic Ethos behind the Illuminate Women's Music Concert Series Angela Elizabeth Slater 22. Changing Classical Music from the Inside: An Interview with Chi- chi Nwanoku Chi-chi Nwanoku PART VI ACTIVISM: BUILDING NETWORKS FOR CHANGE 23. (Un)Silencing Blacktivism in Opera: An Interview with Quodesia Johnson about the Letter to the Opera Field from Black Administrators Antonio C. Cuyler 24. Reflecting on the Work of Gender Relations in New Music: Institutional Critique and Activist Strategies Brandon Farnsworth and Rosanna Lovell 25. Addressing Inequalities in the Music Industry before, during, and after COVID- 19: The Campaigning Work of the UK's Independent Society of Musicians Deborah Annetts, Vick Bain, Chris Collins, Vinota Karunasaagarar, and Dr. Kathryn Williams 26. "A Community of 30,000 Musicians behind You": An Interview with John Shortell from the UK Musicians' Union John Shortell Afterword Gillian Moore Discussion Questions for Teachers, Students, Reading Groups, and Industry Leaders References Index

Read more less

Book Synopsis

Read more less

Book SynopsisCaring for the Whole Musician brings together insights from two expert musicians and educators to consider the relationship between mental and physical health and artistic practice for musicians. Offering a holistic perspective that encompasses the whole being â body, mind, and heart â this book provides emerging musicians with tools, practices, and mindsets to address key challenges throughout their journey.The first part, Awareness, addresses wellness and embodiment in music, exploring how our bodies are constructed and how the use of our bodies as instruments affects function. Using approaches including Body Mapping and the Alexander Technique, this part helps readers discover adverse habits that interfere with natural movement, and nurture awareness of the body. The second part, Mindfulness, explores how meditative practice can be incorporated into every stage of concert preparation and embedded within the daily life of the musician. Offering mindfuTable of ContentsPART ONE: AWARENESS 1. The Well of Awareness2. Know Thyself3. Alexander Technique Principles4. The Well Never Runs DryRecommended MaterialsPART TWO: MINDFULNESS 5. The Musician and the Monk6. Pre-Game Strategies7. Mid-Game Strategies8. Post-Game Strategies and Final Thoughts

Read more less

Book SynopsisAnn Harrison runs her own successful legal consultancy. Former head of the music group at a leading media and entertainment law firm, she specialises in copyright and contract law for artists, producers, managers and publishers. annharrison.co.ukTrade ReviewThe most comprehensive and accessible guide to the workings of the British music industry. * Daily Mirror *An invaluable guide to the legal minefield. * Guitar Magazine *An indispensable companion for any up-and-coming musician. * Future Music *Harrison has cut a magnificent swathe through the legal jungle. Essential. * Record Collector *An indispensable companion for any up-and-coming musician * Future Music *

Read more less

Book SynopsisEvery orchestra in the world oscillates between crisis and survival. This perpetual movement makes innovation, both in organizational form and in artistic product, vital to the sustainability of the symphony orchestra. Based on case study research in Flanders, Amsterdam and London, this book reflects on the sustainability crisis of the orchestra by framing it as a legitimacy crisis that affects both the orchestraâs artistic and organizational identity. The aim of this book is to explore the dynamics between various and often conflicting factors in the orchestraâs quest for survival, and to show how these organizational dynamics relate to the orchestraâs repertoire. By highlighting the importance of every organizationâs specific environment to which it needs to adapt, this book illustrates that the orchestra field is not a field that relies on best practices. The book reflects on conventional as well as innovative orchestra models, making the comparative point of view r

Read more less

Book SynopsisPositive Psychology for Music Professionals is a guidebook to the building blocks of positive psychology and character strengths, and the ways in which they can be used by music professionals throughout the industry to empower, celebrate, and leverage individuality.Written in a highly accessible and entertaining tone and based on the science of character pioneered by the VIA Institute this book is designed to introduce the language, themes, and concepts of a strength-based approach to working in the music industry. Targeted exercises, self-reflections, interviews, and profession-specific case studies encourage readers to harness the power of their strengths to shift to an open mindset, create more positive working relationships, and improve institutions within their field. Positive Psychology for Music Professionals is essential reading for music professionals of all kinds, including aspiring and established musicians, students, music producers, educTrade Review"If music is the language of the Gods, then this book is about helping music professionals realize their full humanity and, by doing so, create heaven on earth. A compelling read for all of us who savor one of life's greatest gifts."Tal Ben-Shahar, Founder of Happiness Studies Academy & Potentialife"This book exposes the beautiful and shiniest gem in music education. It reveals and sheds light on that inner knowing that we have all felt for so long navigating through our personal musical journeys. After reading this book, you will have a deeper relationship with yourself that will be beautifully expressed through your artistry." Cassandra Claude, Author and Vocal Coach"This book is an absolute delight. Beautifully written, it is a feast of creativity […] Although this book is, as the title professes, an introduction to the character strengths for music professionals, anyone from any profession will gain a great deal by reading it. Not only do we learn a tremendous amount about the character strengths, we also get an inside scoop into the world of music. I highly recommend this book to anyone living in a human body wishing to add more insight, joy, and inspiration to their lives!"Megha Nancy Buttenheim, Let Your Yoga Dance Founder and Positive PsychologistTable of Contents1. Opening Act 2. First Set: Aware – Your 24 Character Strengths 3. Second Set: Explore Virtue Categories and Music Professions 4. Last Set: Apply Strengths in Action

Read more less

Book SynopsisTwo of the objectives of the Chinese Copyright Law are to protect the copyright of authors to their literary and artistic works and encourage the creation and dissemination of works. In practice, however, in spite of the existence of the Music Copyright Society of China ('MCSC') that was established to assist with exercising copyright, music creators in China remain in need of help to protect and manage their fragmented copyright. The MCSC was the first collective management organisation ('CMO') in mainland China and is the only CMO in the field of musical works. While there is a large music industry and copyright business in China, the MCSC only had 11,356 members at the end of 2021. The third amendment of the Chinese Copyright Law was initiated in 2011 and came into effect in June 2021 after a long debate for almost ten years. The discussion of the third amendment has highlighted the controversial topic of collective management of copyright. This book explores the adequacy of the MCSC as an intermediary representing rights for music creators. The main argument developed in this study is that the work of the MCSC for individual composers and lyricists is hampered by shortcomings in the regulatory regime as well as by a lack of membersâ rights to participate in the management of their own rights and by the ineffective international cooperation between the MCSC and other musical CMOs overseas. The analysis is undertaken through a case study approach, comparing the collective management systems of music copyright in China, the United States and Australia and addressing the question of how musical CMOs operate in these countries. Specifically, three perspectives are examined: the regulatory systems designed to limit the misuse of those CMOsâ monopoly, membersâ rights in the organisations, and international cooperation between these CMOs. Overall, the main findings of this book suggest that the MCSC in China could work more effectively to protect music creatorsâ interests. In contrast, although the operational frameworks of the American Society of Composers, Authors and Publishers ('ASCAP') and the Broadcasting Broadcast Music, Inc. ('BMI') in the United States and the Australasian Performing Right Association ('APRA') in Australia are not perfect models, the systems in these two countries may at least provide reference points for potential improvement of the regime of the MCSC. The research recommends three courses of action: strengthening the regulatory design overseeing the MCSCâs monopoly, clarifying the relationship between the MCSC and its members while providing the members with the right to manage their own copyright, and improving the international cooperation between the MCSC and CMOs in other countries.

Read more less

Book SynopsisTo what extent is it possible to do good work in music artist management? Drawing upon original research, this shortform book explores and evaluates motivation, remuneration and equity stakes within the music industries.The author ponders the apparent managerial exodus from the music industries and whether this brain drain could be addressed by providing better remuneration via equity. Based on evidence from Australia, the book illuminates how pay in this sector has remained flat despite increasing responsibility.Emphasising the quality of the subjective experience of music artist managers, this concise book provides readers with new insights into the important role managers play in the music business. The result is a book that will be useful reading for academics and reflective practitioners.

Read more less

Book SynopsisVideo game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analysed, includingSuper Mario Galaxy,Bastion,The Last of Us, Kentucky Route Zeroand theKatamari,Gran TurismoandTalesseries. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars.Trade Review'The work as a whole is useful for both game researchers and game designers; individual essays focus on such topics as intellectual property, music theory, the history of technology since the 1970s, identity and representation in video games, and the affective and physiological effects of music beyond this specific field … Recommended.' W. McNelis, Choice ConnectTable of ContentsForeword: The collaborative art of game music Lydia Andrew; Introduction Melanie Fritsch and Tim Summers; Part I. Chiptunes: 1. Before red book: early video game music and technology James Newman; 2. Chiptune, ownership and the digital underground Kenneth B. McAlpine; 3. Waveform wizard – an interview with Junko Ozawa, trans Lyman Gamberton; Part II. Creating and Programming Game Music: 4. Building relationships: the process of creating game music Guy Michelmore; 5. The inherent conflicts of musical interactivity in video games Richard Stevens; 6. The triple lock of synchronization K. J. Donnelly; 7. 'Less music, now!' – new contextual approaches to video game soundtracks Rob Bridgett; 8. Composing for independent games: the music of kentucky route zero Ben Babbitt; Part III. Analytical Approaches: 9. Music games Michael Austin; 10. Autoethnography, phenomenology and hermeneutics Michiel Kamp; 11. Interacting with soundscapes: music, sound effects, and dialogue in video games Elizabeth Medina-Gray; 12. Analytical traditions and game music: super mario galaxy as a case study Steven Reale; 13. Semiotics in game music Iain Hart; 14. Game – music – performance. Introducing a ludomusicological theory and framework Melanie Fritsch; Part IV. Realities, Perception and Psychology: 15. A step back from reality: sound and presence in computer games and other worlds Mark Grimshaw-Aagaard; 16. Audio and the experience of gaming: a cognitive-emotional approach to video game sound Dana Plank; 17. Physiological responses and game music Duncan Williams; Part V. Game Music, Contexts and Identities: 18. Game music and identity Chris Tonelli; 19. Game music and history James Cook; 20. Open worlds: globalization, localization, and video game music William Gibbons; 21. Female credit: excavating recognition for the capcom sound team Hillegonda C. Rietveld and Andrew Lemon; Part VI. Beyond the Game: 22. Pop music, economics and marketing Andra Ivănescu; 23. Game music beyond the games Ryan Thompson; 24. Producing game music concerts Thomas Böcker.

Read more less

Book SynopsisPopular music scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contextsTrade ReviewThe latest addition to Bloomsbury’s Popular Music Handbook series is a well-conceived and intelligently organized introduction to one of the most interesting areas of contemporary popular music scholarship: the study of musical spaces and places. The editors do an excellent job of arranging a variety of voices and bring together contrasting approaches in a way that makes coherent a topic that is, it seems, limitless! There are essays here on the bedroom, the studio and the record shop; on the toilet circuit of small gigs and the portaloo logistics of large festivals; on French banlieus, South African townships, Brazilian favelas and English suburbia; on musical cities as conceived by policy makers, tourists and musicians; on travelling at home with a Frank Sinatra album and feeling at home in the circuits of the digital universe; on the historical space of heritage and musical nationalism; on experiencing the noise of cities and the sounds of the countryside. This is a rich field of scholarship indeed! -- Simon Frith, Professor of Music, University of Edinburgh, Scotland, author of Performing Rites: On the Value of Popular Music (1998)The experience and the forms of music might seem to become ever less tethered to locality, but this collection of essays from many disciplines and countries shows how space cannot but structure sound, from global commodity flows to the banlieu and the bedroom. With succinct chapters providing evocative case studies and quick access to the relevant theoretical literatures, the Handbook will be much appreciated as the primary gateway into researching the variegated geographies of today’s popular music. -- Arun Saldanha, Associate Professor in the Department of Geography, Environment and Society at the University of Minnesota, USA, author of Space After Deleuze (Bloomsbury, 2017)This is not another book about the relationship between music and the city. It is not another book about musical cities. Nor is it a book about musical scenes. Following the primordial path of Simmel or Lefebvre, this edited book expands, systematizes and updates the fruitful (and foundational) relations between music, space and place from a theoretical and empirical point of view. It is a crucial work of transdisciplinary profile that equates space, place (and even the non-place) in a dialogical relationship through the presentation of the different dynamics and means of appropriation and consumption of music spaces and places - home, radio, record store, nightclub, live concert, mobile devices. It unveils the relationships between space, place, music production and performance in the city, in the bedroom, in the (virtual-) studio, in the record or in the live gig. Music does not exist without space and the place. Considering the contemporary metamorphosis of this equation, this edited book shows us the impressive number of 29 chapters dedicated to the different issues, disciplines, theories, methods and geographical latitudes that are at stake. It ranges from suburban breakout, to South African township life, Rio de Janeiro's Favelas funk, postcolonial noise and even trans-national music. The plethora of meanings of the relationship between music, space and place is further explored in terms of its historicity, heritage, memory, tourism, events/festivals or cinema. In short, this edited book has come to occupy a place - which was empty because fragmentary - for all the academics, researchers, students, music lovers, managers and politicians who have music and its 'territories' as their field of action. Moreover, I can tell you how much I missed it. -- Paula Guerra, Professor of Sociology, University of Porto, Portugal, co-editor of Punk, Fanzines and DIY Cultures in a Global World: Fast, Furious and Xerox (2020) and Underground Music Scenes and DIY Cultures (2019)Table of ContentsList of contributors Introduction (Geoff Stahl, Victoria University of Wellington, New Zealand and J. Mark Percival, Queen Margaret University, Edinburgh) Section I: Theory & method 1. Music, space, place and non-place (Geoff Stahl, Victoria University of Wellington, New Zealand) 2. Rhythmanalysis and circulation (Will Straw, McGill University, Canada) 3. Global, local, regional and translocal: Towards a relational approach to scale in popular music (Hyunjoon Shin, Sungkonghoe University, South Korea and Keewong Lee, Sungkonghoe University, South Korea) 4. Sociological perspectives on music and place (Andy Bennett, Griffith University, Australia) 5. Ethnomusicology and place (Kimberly Cannady, Victoria University of Wellington, New Zealand) 6. Political economies of urban music (Shane Homan, Monash University, Australia) 7. Sensobiographic walking and ethnographic approach of the Finnish school of soundscape studies (Helmi Järviluoama, University of Eastern Finland, Finland) Section II: Space, place and consumption 8. At Home with Sinatra (Keir Keightley, University of Western Ontario, Canada) 9. Music radio (J. Mark Percival, Queen Margaret University, UK) 10. The record shop (Nabeel Zuberi, University of Auckland, New Zealand) 11. The nightclub (Hillegonda C Rietveld, London South Bank University, UK) 12. The live venue (Robert Kronenburg, University of Liverpool, UK) 13. Mobile listening cultures (Raphaël Nowak, Griffith University, Australia) Section III: Space, place, production and performance 14. In the City - Glasgow (Martin Cloonan, University of Turku, Finland) 15. Bedroom production (Emília Barna, Budapest University of Technology and Economics, Hungary) 16. The Studio (Ruth Dockwray, University of Chester, UK) 17. The virtual studio (Martin K. Koszolko, RMIT, Australia) 18. The space of the record: Something happening somewhere (Simon Zagorski-Thomas, University of West London, UK) 19. The live gig (Sam Whiting, RMIT, Australia) Section IV: Cities, suburbs, nations and beyond 20. Suburban breakout: Nomadic reverie in British pop (Andrew Branch, University of East London, UK) 21. Sounding South African township life (Kathryn Olsen, University of KwaZulu-Natal, South Africa) 22. Funk - A musical symbol of Rio de Janeiro's favelas (Vincenzo Cambria, UNIRIO/Federal University of the State of Rio de Janeiro, Brazil) 23. Banlieue: Postcolonial noise: How did French rap (re)invent 'the banlieue'? (Christina Horvath, University of Bath, UK) 24. Music and the nation (Melanie Schiller, University of Groningen, The Netherlands) 25. Transnational music (Simone Krüger Bridge, Liverpool John Moores University, UK) Section V: Selling, celebrating, representing space and place 26. Music and Heritage (Catherine Strong, RMIT, Australia) 27. Music and Tourism (Leonieke Bolderman, Erasmus University, The Netherlands) 28. Festivals (Chris Anderton, Solent University, UK) 29. Cinematic places: Popular music soundtracks and the charge of the real (Kate Bolgar Smith, SOAS University of London, UK) Index

Read more less

Book SynopsisWe're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This collection traces how media, with a focus on sound and image, engages with these new technologies. It bridges the gap between science and the humanities by pairing humanists' close readings of contemporary media with scientists' discussions of the science and math that inform them. This text includes contributions by established and emerging scholars performing across-the-aisle research on new technologies, exploring topics such as facial and gait recognition; EEG and audiovisual materials; surveillance; and sound and images in relation to questions of sexual identity, race, ethnicity, disability, and class and includes examples from a range of films and TV shows including Blade Runner, Black Mirror, Mr. Robot, Morgan, Ex Machina, <Trade ReviewThe membrane between media and mind has been dissolving for a century. Cybermedia turns the membrane into an irrigation system. A new kind of practice as much as a book, Cybermedia brings makers, scientists and scholars into dialogues that pass through old borders, subtly transformed and transforming. From comic books to paranoia, neurotransmitters to Radiohead, Cybermedia opens a new landscape of social-technical minds and media as things to study and ways of studying them. * Sean Cubitt, Professor of Screen Studies, University of Melbourne, Australia *Table of Contents Acknowledgments Contributors Introduction Jonathan Leal and Carol Vernallis Part I: AI and Robotics 1. Could the AI of Our Dreams Ever Become Reality? Jay McClelland 2. Director Alex Garland Converses with Cybermedia’s Scientists and Media Scholars Jonathan Leal and Carol Vernallis 3. (S)Ex Machina and the Cartesian Theater of the Absurd Simon D. Levy and Charles W. Lowney 4. Epiphany, Infinity and Transcendent AI Zachary Mason Part II: Big Data, Sentience, and the Universe 5. A MASSIVE Swirl of Pixels: Algorithms in Radiohead’s ‘Go to Sleep’ Steen Ledet Christiansen 6. The Rise of the Machine: Body-Knowing, Neural Nets, and Emergent Freedom Charles W. Lowney 7. The Quantum Computer as Sci-Fi’s Favorite Character Leonardo P. G. De Assis 8. Composer Ben Salisbury Discusses Scoring Science for Alex Garland Holly Rogers, John McGrath, Carol Vernallis, and Dale Chapman 9. Ex Machina and the Question of Consciousness Murray Shanahan Part III: The Neuroscience of Affect and Event Perception 10. ‘A Solid Popularity Arc’: Affective Economies in Black Mirror’s ‘Nosedive’ Dale Chapman 11. Cognitive Boundaries, ‘Nosedive’ and Under the Skin: Interview with Jeffrey Zacks Carol Vernallis, Jonathan Leal, and Dale Chapman 12. Toward an AI Future of Comics Study and Creation: A Cognitive-Affective Approach Frederick Aldama and Laura Wagner Part IV: The Digital West 13. The Philosophy of Westworld Paul Skokowski 14. New Visions of the Old West: A.I., Self, and Other in Westworld Christopher Minz 15. Scoring Music for Westworld Then and Now: A Cognitive Perspective Annabel J. Cohen Part V: Interface, Desire, Collectivity 16. Director Terence Nance Discusses Random Acts of Flyness Carol Vernallis, Jonathan Leal, Holly Rogers, Liz Reich and the contributors of Cybermedia 17. The Gift of Black Sonics: Interface and Ontology in Sorry to Bother You and Random Acts of Flyness Liz Reich 18. Technology, Chaos, and the Nimble Subversion of Random Acts of Flyness Eric Lyon 19. Expecting the Twist: How Media Navigate the Intersections Among Different Sources of Prior Knowledge Noah Fram 20. Face Color Bevil Conway Part VI: Productive Neuropathologies 21. Digital Vitalism Marta Figlerowicz 22. Neuroplasticity: From Experience to Healing Sara Ferrando Colomer 23. Where is My Mind? Mr. Robot and the Digital Neuropolis Patricia Pisters 24. Dopamine Circuits: Wanting, Liking, Habits, and Goals. An Interview about Mr. Robot with Neuroscientist Talia Lerner Jonathan Leal, Carol Vernallis, and Patricia Pisters 25. The Taste of Cybermedia: An Interview with Hojoon Lee, The Lee Lab at Northwestern University Julia Peres Guimaraes, Selmin Kara, and Carol Vernallis Index

Read more less

Book SynopsisThe one-hit wonder has a long and storied history in popular music, exhorting listeners to dance, to teach the world to sing in perfect harmony, to ponder mortality, to get a job, to bask in the sunshine, or just to get up and dance again. Catchy, memorable, irritating, or simply ubiquitous, one-hit wonders capture something of the mood of a time. This collection provides a series of short, sharp chapters focusing on one-hit wonders from the 1950s to the present day, with a view toward understanding both the mechanics of success and the socio-musical contexts within which such songs became hits. Some artists included here might have aspired to success but only managed one hit, while others enjoyed lengthy, if unremarkable, careers after their initial chart success. Put together, these chapters provide not only a capsule history of popular music tastes, but also ruminations on the changing nature of the music industry and the mechanics of fame.Trade ReviewOne-hit wonders are pop’s overachieving underachievers, winners-but-losers that stretch categories – up to a point. In this big book of small fries, academics and musicians reckon with the results, from bubblegum to global pop – every musical identity ersatz, every twist and turn a chance to marvel, yet again: “How Bizarre.” -- Eric Weisbard, Professor of American Studies, University of Alabama, author of Top 40 Democracy: The Rival Mainstreams of American Popular Music (2014)A fascinating look at the cultural and personal context around one-hit wonders, this collection deftly explains why some of these songs escaped obscurity — and makes excellent cases why others might be best left in the past. -- Annie Zaleski, editor, music journalist, and author of Duran Duran’s Rio (2021) in Bloomsbury's 33 1/3 seriesOne-Hit Wonders is a treasure trove of analysis into why particular songs resonate at specific moments in history and how quickly they can date. Hill’s collection is full of insight into the vagaries of taste, the nature of audiences and why certain musical moments remains timeless. It poses fascinating questions about what happens to those whose careers are defined by that one hit song. -- Kirsty Fairclough, Reader in Screen Studies, School of Digital Arts (SODA), Manchester Metropolitan University, UK, co-editor of Prince and Popular Music: Critical Perspectives on an Interdisciplinary Life (Bloomsbury, 2020)One-Hit Wonders unveils the many layers behind those familiar, catchy, (and sometimes grating) hit songs that all too often evade the pop music history textbooks. Covering a wide variety of songs, as though you are turning a radio dial that traverses a Top 40 format across decades, this engaging collection emphasizes that these songs are not standalone entities but are deeply embedded in larger cultural movements and moments. -- Brian Fauteux, Associate Professor of Popular Music and Media Studies, University of Alberta, Canada, author of Music in Range: The Culture of Canadian Campus Radio (2015)Table of ContentsList of Figures Acknowledgements The Chart of the Book: One-Hit Wonders' Top Hits Introduction Sarah Hill, St Peter's College, University of Oxford, UK 1. Buchanan & Goodman, "The Flying Saucer" Parts 1 & 2 (1956) Paul Carr, University of South Wales, UK 2. The Kingsmen, "Louie Louie" (1963) Samuel Murray, Middlesex University, UK 3. ? and the Mysterians, "96 Tears" Adam Behr, Newcastle University, UK 4. The Easybeats, "Friday on My Mind" (1966) Dai Griffiths, Independent Scholar, Oxford, UK 5. Norman Greenbaum, "Spirit in the Sky" (1969) Philip Auslander, Georgia Institute of Technology, USA 6. The Archies, "Sugar Sugar" (1969) Jon Stewart, BIMM Institute, Brighton, UK 7. Serge Gainsbourg, "Je t’aime(moi non plus" (1969) Philippe Gonin, University of Burgundy Franche-Comté, France; trans. Jackie Ortiz 8. Blue Swede, "Hooked On a Feeling" (1974) Sarah Hill, St. Peter's College, Oxford, UK; with Bengt Palmers 9. Wild Cherry, "Play That Funky Music" (1976) Robert Fink, UCLA Herb Alpert School of Music, USA 10. Althea and Donna, "Uptown Top Ranking" (1977) Paul Long, Monash University, Australia 11. Plastic Bertrand, "Ça Plane Pour Moi" (1977) Patrick McGuinness, St. Anne's College, Oxford, UK 12. Nick Gilder, "Hot Child in the City" (1978) Richard Parfitt, Independent Scholar, Wales, UK 13. The Vapors, "Turning Japanese" (1980) Abigail Gardner, University of Gloucestershire, UK 14. Aneka, "Japanese Boy" (1981) Richard Elliott, Newcastle University, UK 15. Toni Basil, "Mickey" (1981) Tim J. Anderson, Old Dominion University, USA 16. Trio, "Da Da Da" (1981) Tim Quirk, Singer and Lyricist, USA 17. Nena, "99 Luftballons/99 Red Balloons" (1983) Melanie Schiller, University of Groningen, Netherlands 18. The Grateful Dead, "Touch of Grey" (1987) Tom Irvine, University of Southampton, UK 19. A View from the Ground: Latin Quarter, "Radio Africa" (1986) Michael Jones, Senior Lecturer in Music, University of Liverpool, UK 20. A View from the Desk: Product Management Sarah Hill, St. Peter's College, Oxford, UK 21. Shakespear’s Sister, "Stay"(1992) Áine Mangaoang, University of Oslo, Norway 22. OMC, "How Bizarre" (1996) Geoff Stahl, Victoria University of Wellington, Aotearoa/New Zealand 23. The Butthole Surfers, "Pepper" (1996) Gina Arnold, University of San Francisco, USA 24. Chumbawamba, "Tubthumping" (1997) Matt Grimes, Birmingham City University, UK 25. Meredith Brooks, "Bitch" (1997) Asya Draganova, Birmingham City University, UK 26. New Radicals, "You Get What You Give" (1998) Jon Gower, Independent Scholar, UK 27. Las Ketchup, "Aserejé" (2002) Eulalia Febrer Coll, Conservatori Superior de Música de les Illes Balears and Universidad Internacional de La Rioja, Spain 28. Gotye ft. Kimbra, "Somebody That I Used to Know" (2011) Ellis Jones, University of Leeds, UK List of Contributors Index

Read more less

Book SynopsisHacienda resident and Manchester legend DJ Paulette celebrates the highs, lows and lessons of a 30-year career at the forefront of UK dance music as a ground-breaking Black female DJ. -- .

Read more less

Book Synopsis'A memoir of great power and emotional honesty. To read this book is to be in awe of Spraggan's strength in writing it' ELIZABETH DAY** THE SUNDAY TIMES BESTSELLER, NOW UPDATED WITH NEW CONTENT **By the age of twenty, Lucy Spraggan had already experienced more extraordinary things than many do across a lifetime. Growing up in a creative household, surrounded by artists, alcohol and raucous parties, by her late teens she had played pubs, clubs and festivals, fallen in love with an older woman on a US road trip, experimented with drink and drugs, and been in and out of police custody. When her X Factor audition went viral in 2012, Lucy became the bookies' favourite to win the show. She was the first contestant ever to write and perform her own original songs, refusing to be pigeonholed by stylists and producers. Viewers fell for her unmanufactured, anti-pop princess stance, and the tabloids loved her. Then, suddenly

Read more less

Book SynopsisThe music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.Trade Review'In a world increasingly reflected and cognised through numerical computation, this well curated collection proves a useful reference resource. Expansive, detailed and well-researched, Music by Numbers is a commendable contribution to the understanding of our digital age.' -- Chris Woods, Popular Music'Music by numbers provides a valuable contribution to our understanding of the use and abuse of data and statistics in the music industries. It employs a critical stance and unpacks the various ways in which numbers are instrumental to industry goals and details various strategies employed to manipulate them accordingly. [...] This book undoubtedly provides useful guidelines for future research on statistics, data and metrics in the music business.' -- Erik Hitters, International Journal of Music Business Research'In fourteen distinct and loosely connected chapters the contributors variously analyze, dispute, or contribute statistics on the music industries. As Osborne notes in his excellent introduction, the book was Laing’s idea; however, it is largely due to Osborne that this volume saw the light of day, as Laing sadly passed away in January 2019. Osborne was thus forced to contribute more than he had initially planned and wrote all three chapters for Part I on the music industries’ “winners and losers.” These are some of the most interesting chapters of the book. They range in topic from how the United Kingdom singles chart has historically both reflected and driven musical popularity, to the peculiar celebration of sales figures by rewarding gold or platinum status, to the disputable but highly influential rhetoric of the “one-inten” success ratio that is still frequently heard today. Music By Numbers provides popular music scholars with an important and useful foundation for the continued investigation of “the use and abuse” of numbers in the music industries. It is also a fine tribute to the late Dave Laing.' -- Robert Prey, Journal of Popular Music Studies'Music by Numbers is a useful read for professionals at any level in the music industry. Each chapter deals with statistics and data in an accessible way without weakening their rigorous critiques of music industry practices. It would be an illuminating read for all artists and music industry professionals.' -- Margaret Grumeretz, Music Reference Services Quarterly“The book could have been called ‘Doing a Number on Music Data’ as it does just that. It reveals the tricks and traps that seemingly objective statistics conceal and puts paid once and for all the notion that they should be taken at face value. Everyone should understand the basis for claims backed by data and actual or potential sources of bias. This book is a very good source for doing just that in the music industry.” -- Ruth Towse, professor of economics of creative industries, Bournemouth University“Music By Numbers is a major contribution to popular music studies. The analyses and accounts here are detailed, rigorous, and inclusive, providing crucial resources for comparative and critical research as well as substantial counterweights to industry- and policy-serving materials.” -- Matt Stahl, associate professor of Information and Media Studies, Western University, Ontario“From the Hit Parade to Spotify, whether in arguments about royalties, piracy or the relative value of the live and recorded sectors, the political economy of popular music has always been shaped by statistics. This collection of essays provides a thoughtful, sceptical and instructive guide to why and how music businesses use and abuse numerical data.” -- Simon Frith, emeritus professor of Music, University of Edinburgh“This book offers a timely examination of how data and statistics lie at the heart of the music industries – in making decisions, lobbying governments, and discussing internet piracy. Commonly held industry assumptions are challenged with recourse to a variety of data sources and methodologies, and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses, abuses and manipulates the vast quantities of data that digital technologies have made available.” -- Chris Anderton, associate professor in Cultural Economy, Solent University, Southampton“Everyone who is interested in music is, in one way or another, influenced by numbers - from tracks, hits and streams to profit margins, ticket prices and piracy rates. What the chapters in this collection demonstrate is that these numbers are never neutral; they are inherently political - constructed and presented in specific ways to suit particular interests. This book offers essential guidance for anyone who wants to make sense of the statistics that surround the music industry, and - fortunately - you don't need to be a maths whizz to understand it. In an age when the 'data' about music is constantly increasing, this collection will only increase in importance, helping future readers to make sense of numbers yet to be invented.” -- Lee Marshall, professor of Sociology, University of BristolTable of ContentsRichard Osborne, ‘Introduction’ PART ONE: Winners and Losers Richard Osborne, ‘At the Sign of the Swingin’ Symbol: The Manipulation of the UK Singles Chart’ Richard Osborne, ‘The Gold Disc: One Million Pop Fans Can’t Be Wrong’ Richard Osborne, ‘“I Am a One in Ten”: Success Ratios in the Recording Industry’ PART TWO: Policy David Arditi, ‘The Global Music Report: Selling a Narrative of Decline’ Shain Shapiro, ‘Popular Music Funding in Canada’ PART THREE: Live Music Adam Behr, Matt Brennan, Martin Cloonan and Emma Webster, ‘Stop Making Census! Some Experiential Reflections on Conducting a Live Music Census’ Dave Laing, ‘What’s It Worth? Calculating the Economic Value of Live Music’ Richard Osborne, ‘Live Music vs. Recorded Music’ PART FOUR: Piracy Lucas Logan, ‘Selling the Numbers on Music Piracy to Burn Down the Digital Library’ Lola Costa Galvez, ‘Educar para crear: The Use of Statistics and Surveys in Spanish Music Anti-piracy Policies’ Vanessa Bastian and Dennis Collopy, ‘Measuring the Unmeasurable’ PART FIVE: Digital Solutions Mike Jones, ‘One Penny from Brazil: Music Publishing Revived but Untransformed’ Marcus O’Dair (Middlesex University), ‘Tokens and Techno-Economic Paradigms: On the Value of Blockchain Technology to the Music Industries’ Craig Hamilton, ‘The Harkive Project: Computational Analysis and Popular Music Reception’

Read more less

Book SynopsisThe music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.Trade Review'In a world increasingly reflected and cognised through numerical computation, this well curated collection proves a useful reference resource. Expansive, detailed and well-researched, Music by Numbers is a commendable contribution to the understanding of our digital age.' -- Chris Woods, Popular Music'Music by numbers provides a valuable contribution to our understanding of the use and abuse of data and statistics in the music industries. It employs a critical stance and unpacks the various ways in which numbers are instrumental to industry goals and details various strategies employed to manipulate them accordingly. [...] This book undoubtedly provides useful guidelines for future research on statistics, data and metrics in the music business.' -- Erik Hitters, International Journal of Music Business Research'In fourteen distinct and loosely connected chapters the contributors variously analyze, dispute, or contribute statistics on the music industries. As Osborne notes in his excellent introduction, the book was Laing’s idea; however, it is largely due to Osborne that this volume saw the light of day, as Laing sadly passed away in January 2019. Osborne was thus forced to contribute more than he had initially planned and wrote all three chapters for Part I on the music industries’ “winners and losers.” These are some of the most interesting chapters of the book. They range in topic from how the United Kingdom singles chart has historically both reflected and driven musical popularity, to the peculiar celebration of sales figures by rewarding gold or platinum status, to the disputable but highly influential rhetoric of the “one-inten” success ratio that is still frequently heard today. Music By Numbers provides popular music scholars with an important and useful foundation for the continued investigation of “the use and abuse” of numbers in the music industries. It is also a fine tribute to the late Dave Laing.' -- Robert Prey, Journal of Popular Music Studies'Music by Numbers is a useful read for professionals at any level in the music industry. Each chapter deals with statistics and data in an accessible way without weakening their rigorous critiques of music industry practices. It would be an illuminating read for all artists and music industry professionals.' -- Margaret Grumeretz, Music Reference Services Quarterly“The book could have been called ‘Doing a Number on Music Data’ as it does just that. It reveals the tricks and traps that seemingly objective statistics conceal and puts paid once and for all the notion that they should be taken at face value. Everyone should understand the basis for claims backed by data and actual or potential sources of bias. This book is a very good source for doing just that in the music industry.” -- Ruth Towse, professor of economics of creative industries, Bournemouth University“Music By Numbers is a major contribution to popular music studies. The analyses and accounts here are detailed, rigorous, and inclusive, providing crucial resources for comparative and critical research as well as substantial counterweights to industry- and policy-serving materials.” -- Matt Stahl, associate professor of Information and Media Studies, Western University, Ontario“From the Hit Parade to Spotify, whether in arguments about royalties, piracy or the relative value of the live and recorded sectors, the political economy of popular music has always been shaped by statistics. This collection of essays provides a thoughtful, sceptical and instructive guide to why and how music businesses use and abuse numerical data.” -- Simon Frith, emeritus professor of Music, University of Edinburgh“This book offers a timely examination of how data and statistics lie at the heart of the music industries – in making decisions, lobbying governments, and discussing internet piracy. Commonly held industry assumptions are challenged with recourse to a variety of data sources and methodologies, and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses, abuses and manipulates the vast quantities of data that digital technologies have made available.” -- Chris Anderton, associate professor in Cultural Economy, Solent University, Southampton“Everyone who is interested in music is, in one way or another, influenced by numbers - from tracks, hits and streams to profit margins, ticket prices and piracy rates. What the chapters in this collection demonstrate is that these numbers are never neutral; they are inherently political - constructed and presented in specific ways to suit particular interests. This book offers essential guidance for anyone who wants to make sense of the statistics that surround the music industry, and - fortunately - you don't need to be a maths whizz to understand it. In an age when the 'data' about music is constantly increasing, this collection will only increase in importance, helping future readers to make sense of numbers yet to be invented.” -- Lee Marshall, professor of Sociology, University of BristolTable of ContentsRichard Osborne, ‘Introduction’ PART ONE: Winners and Losers Richard Osborne, ‘At the Sign of the Swingin’ Symbol: The Manipulation of the UK Singles Chart’ Richard Osborne, ‘The Gold Disc: One Million Pop Fans Can’t Be Wrong’ Richard Osborne, ‘“I Am a One in Ten”: Success Ratios in the Recording Industry’ PART TWO: Policy David Arditi, ‘The Global Music Report: Selling a Narrative of Decline’ Shain Shapiro, ‘Popular Music Funding in Canada’ PART THREE: Live Music Adam Behr, Matt Brennan, Martin Cloonan and Emma Webster, ‘Stop Making Census! Some Experiential Reflections on Conducting a Live Music Census’ Dave Laing, ‘What’s It Worth? Calculating the Economic Value of Live Music’ Richard Osborne, ‘Live Music vs. Recorded Music’ PART FOUR: Piracy Lucas Logan, ‘Selling the Numbers on Music Piracy to Burn Down the Digital Library’ Lola Costa Galvez, ‘Educar para crear: The Use of Statistics and Surveys in Spanish Music Anti-piracy Policies’ Vanessa Bastian and Dennis Collopy, ‘Measuring the Unmeasurable’ PART FIVE: Digital Solutions Mike Jones, ‘One Penny from Brazil: Music Publishing Revived but Untransformed’ Marcus O’Dair (Middlesex University), ‘Tokens and Techno-Economic Paradigms: On the Value of Blockchain Technology to the Music Industries’ Craig Hamilton, ‘The Harkive Project: Computational Analysis and Popular Music Reception’

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisMy real story starts with a disaster, an unmitigated, pull-the-rug-from-under-you, clean-out-the-bank-account disaster. But had it not happened, The Police would never have risen to become the biggest rock band in the world; Jools Holland would not have ended up on TV; The Bangles, The Go-Go s, R.E.M., and many other music stars might never have made it either. It s strange how a fluke, a disaster, an unlikely event can lead to incredible results. But that is in essence what happened to me . . . Two Steps Forward, One Step Back tells the extraordinary story of a maverick manager, promoter, label owner, and all-round legend of the music industry. It opens in the Middle East, where Miles grew up with his father, a CIA agent who was stationed in Syria, Egypt, and Lebanon. It then shifts to London in the late 60s and the beginnings of a career managing bands like Wishbone Ash and Curved Air only for Miles s life and work to be turned upside down by a pioneering yet disastrous European tour. From the ashes of near bankruptcy, Miles enters the world of punk, sharing office space with Malcolm McLaren and Sniffin Glue, before shifting gears again as manager of The Police, featuring his brother, Stewart, on drums. Then, after founding IRS Records, he launches the careers of some of the most potent musical acts of the new wave scene and beyond, from Squeeze and The Go-Go s to The Bangles and R.E.M. Finally, the story comes full circle as Miles finds himself advising the Pentagon on how to win over hearts and minds in the Middle East and introducing Arabic music to the United States. Never let the truth get in the way of a good story, his father would tell him. Sometimes, though, the truth is all you need.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisTrade Review"In what is simultaneously a coming-of-age story; an elegy for a bygone, grittier Chicago; and a case study on the many ways the color barrier was crossed musically in the mid-twentieth century, Iglauer and Roberts contextualize the blues' story as America's."--Booklist "Apart from the musicians themselves, few Chicagoans have done more for the genre--or witnessed more of its history from the inside--than Iglauer."--Howard Reich "Chicago Tribune " "Iglauer and coauthor Patrick A. Roberts provide an enlightening view of the music-making process--from scouting talent to obscure clubs to the quest for originality in the studio to marketing and distribution."--DownBeat "This book is long overdue. Alligator Records has been a cornerstone of the blues world for over four decades. The stories about the artists and sessions that have paved the way for so many others are a pleasure to read. As an Alligator artist I am truly grateful for what Bruce and Alligator Records have done for me and this genre."--Shemekia Copeland "Bruce and his history with Alligator Records encompass so much of the richest and most exciting eras of urban blues. All the fascinating stories and behind-the-scenes intrigues are here, and the indelible legacy of his commitment to this music and the artists he cares so passionately about makes this a terrific, important read."--Bonnie Raitt "Bruce Iglauer stepped through the door of Florence's Lounge on Chicago's South Side and into a timeless love affair with the blues. Iglauer's story is about finding talent, nurturing it, and sharing it with others. It's also about staying independent in a world where conglomerates glom and Big Tech assumes more power. His Alligator Records is a soundtrack to modern blues, from Hound Dog Taylor in 1970 on through Son Seals and Albert Collins and to today's JJ Grey & Mofro. There are great stories here."--Robert Gordon, author of Respect Yourself: Stax Records and the Soul Explosion "A fascinating look at one of the great independent record labels, and producers, of our time. For blues fans, this one has teeth."--Library Journal "Blues and gospel have always been first cousins, and Bruce was as supportive and gracious to me as you could imagine, always willing to offer his insight and expertise. He's been a true friend of the blues and independent music."--Mavis Staples "This is a book packed with a yearning nostalgia for a time and place which we British bluesers could only dream about. If you want to get to grips with the electrifying history of Chicago blues, you need this book--it's a houserockin' gem."--Blues Matters "The book is a wealth of blues history that draws both from Iglauer's encyclopedic knowledge of blues along with his vivid, personal experiences with legendary artists."--Chicago Blues Guide "When I was about twenty years old, Hound Dog Taylor & The HouseRockers were my imaginary best friends. They were with me everywhere I went because I always had my portable CD player with me. I know for a fact I wouldn't be in this business if Bruce hadn't released those first two Hound Dog records. The fire Bruce captured on those records is the magic place I'm reaching for every time I'm in my studio."--Dan Auerbach, The Black Keys "You have to admire Bruce Iglauer's dedication and persistence over the years. He acknowledges he's a workaholic but he has also been meticulous in his control of every aspect of his business. He's been tireless and inspired in building up his artist roster, moving away from his early obsession with Chicago artists and branching out, both following and helping to create new blues forms."--Blues & Rhythm "Iglauer's storytelling, his illuminating views of the artists he's worked with, his straightforward recounting of the business--from recording to running the label, and deciding who to sign or drop--kept me going strong, finishing the highly readable book, coauthored by Patrick A Roberts, in just a couple sittings."--Lincoln Journal Star "Bruce Iglauer's autobiographical history of Alligator Records is, in many ways, a story about technological change as much as it is about music. Yet, even more than a book about music or technology, at its heart, Bitten by the Blues is a business tale--the story of how a young college student started his own label to record his favorite musician, and ended up building a successful operation that not only provided for his family, but facilitated dozens of musicians being able to earn a living from their music. . . . Iglauer and his co-writer, Patrick A. Roberts, have written a history that is warmly conversational in tone, the equivalent of sharing stories with a good friend."--All About Jazz "Iglauer imbues Bitten By The Blues with the same wit, humor, and charm that he evinces in person, and his larger-than-life personality shines through every page. . . . Most importantly, perhaps, Bitten By The Blues reveals some of Bruce's vision for the future of the label, a future that's not carved in stone by any means, but is strengthened by the label's discovery and development of young talents like Shemekia Copeland and Selwyn Birchwood as well as the addition of road-tested blues veterans like Tommy Castro, Nick Moss, and Tinsley Ellis to the label's ever-evolving roster. Bitten By The Blues is an insightful and entertaining read for any blues music fanatic or anybody interested in the business of music. The only (admittedly minor) quibble I have with the book is that I'd loved to have seen more photos, but extra credit to Bruce for including a complete Alligator Records discography that we rabid collectors can use as a convenient shopping list. Grade: A+"--That Devil Music "In addition to being an enjoyable read for blues and Chicago enthusiasts, Bitten by the Blues reminds us that one's passion can become one's profession. Genuine Houserockin' Music indeed."--Birmingham Stages "In many ways the story of Alligator Records is the story of the blues over the last fifty years. Bitten by the Blues is the saga of Alligator Records through the eyes of the one person who knows it best--label founder and owner Bruce Iglauer. With his tough business mind, coupled with an often self-effacing sense of humor, Iglauer tells the tale of the Gator with candor and clarity. From the first Hound Dog Taylor record that launched the label, to the meteoric success of artists like Luther Allison and Shemekia Copeland, Alligator Records has, in many ways, defined success in the blues world. Bitten by the Blues is an eye-opening look at one of the most popular independent blues labels in history."--Brett J. Bonner, editor, Living Blues magazine "No book written today has told a more complete story of contemporary Chicago blues and its multitude of musicians as thoroughly as Bitten by the Blues. This is essential reading for any lover and collector of blues."--Blues Music Magazine

Read more less

Book SynopsisThe engrossing, insightful, and personal musical odyssey of Peter Shapiro, perhaps the most notable independent concert promoter since Bill GrahamPeter Shapiro is the best known and most influential concert promoter of his generation. He owned the legendary Wetlands in Tribeca and has gone on to much bigger things, including Brooklyn Bowl (NYC, Las Vegas, Philadelphia, and Nashville), the Capitol Theatre in Port Chester, producing U2 3D, and promoting the Grateful Dead''s fiftieth-anniversary tour (Fare Thee Well) featuring the Core Four and Trey Anastasio . . . and so much more.In The Music Never Stops, Shapiro shares the inside story of how he became a power-house in the music industry-an island in an increasingly consolidated landscape of venues, ticketing, and touring-through the lens of fifty iconic concerts. Along the way, readers gain insight into what it was like to work with some of the most celebrated bands in modern music, including no

Read more less

Book SynopsisPepsi turned pop music in commercials from novelty to normwith profound effects on both American culture and commerce

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisThe first photographic celebration of the most famous recording studio in the world with a foreword by Sir George Martin.Trade ReviewLucid and lavishly illustrated—a fine gift for pop and music history buffs. Appropriately ambitious biography of the recording studio that gave the world the Beatles’ eponymous swan song—but also, lest it be forgotten, the works of Helen Shapiro and Vanessa-Mae. Helen and Vanessa who? It helps to be a music geek, if not of a certain age, to appreciate the depths of BBC music critic Lawrence’s history of Abbey Road studios, which has been online for nearly nine decades now. For those who are not such geeks, then the basic bits of essential knowledge, all to be found in his pages, are these: The studio was built in the heart of St. John’s Wood, “London’s first garden suburb,” in a refitted Georgian mansion, and in those august surroundings was inaugurated under the baton of none other than Edward Elgar, he of “Pomp and Circumstance” fame. It was also a sonic laboratory, a place to test not only gear to help King George VI work through his stutter (the stuff of the hit movie The King’s Speech) but also the stereophonic, aurally deceptive goodies that would be put to use in the psychedelic era under the tutelage of good Sir George Martin. Before all that, though, Abbey Road had to make the transition from stuffy classical facility to pop wonderland. If you knew that the first pop hit to emerge from Abbey Road was “Cowpuncher’s Cantata” in 1952, then you will not need or profit from Lawrence’s considerable labors, but if you did not—or did not know that Pink Floyd, Radiohead and even Mel Gibson recorded here—then this book is certainly worthy of time and exploration. One might quibble with some of his assessments (Was Jeff Beck’s Truth really a forerunner of metal? Were the Hollies really just another cover band?), but Lawrence makes up for it with plenty of fine factual writing, especially on the technological side. Lucid and lavishly illustrated—a fine gift for pop and music history buffs. * Kirkus *The book is as captivating as the story it tells [...] The book is pure quality from start to finish – from the production, to the design, to the layout and content [...] For fans of music, for musicians, and for cultural historians, this book is definitely a must-have! -- Donna Jackson * British Beatles Fan Club *Abbey Road: The Best Studio in the World is an incredible documentation of cultural history for anyone who values music and how it's made. -- Anita Awbi * PRS for Music *This is the kind of book you dip into for a few minutes and emerge from two hours later – the text always informative, the photographs fresh as yesterday... -- Steven Carroll * The Sydney Morning Herald *Abbey Road is a big book worth lifting. * Rick Librarian *

Read more less

Book SynopsisThe Insider''s Guide to Making Money in the Music Busines is the industry bible and the ultimate guide to making money in the music business. Music is a business of money, contracts, decisions and making the most of every opportunity. To succeed - to make money - to have a career - you have to know what you are doing in both music and business.This invaluable book tells you how the business works, what you must know to succeed, and how much money you can make in films, television, video games, ASCAP, BMI and SESAC, record sales, downloads and streams, advertising, ringtones and ringbacks, interactive toys and dolls, Broadway, new media, scoring contracts and synch licenses, music publishing, foreign countries and much more.This indispensable reference is written by industry insiders Todd Brabec, Educator, Entertainment Law Attorney and former ASCAP Executive Vice President and Worldwide Director of Membership, and Jeff Brabec, Vice President of Business Affairs, Chrysalis Music Publishing.

Read more less

Book SynopsisThis incisive review analyses the most influential academic research in a burgeoning subject - the economics of music. The literature stems from both mainstream economics journals as well as pertinent works from accountancy, sociology and management sources. Topics discussed include live music, music production, labour markets and ownership and music competitions. This review provides a valuable resource for students and economists involved in this fascinating field, as well as those seeking to enter it.Table of ContentsContents: Acknowledgements Introduction Samuel Cameron PART I HIT MUSIC 1. Storm Gloor (2011), ‘Just How Long Is Your “Fifteen Minutes”? An Empirical Analysis of Artists’ Time on the Popular Charts’, Journal of the Music and Entertainment Industry Educators Association, 11 (1), 61–82 2. David E. Giles (2007), ’Survival of the Hippest: Life at the Top of the Hot 100’, Applied Economics, 39 (15), 1877–87 3. Ken Hendricks and Alan Sorensen (2009), ‘Information and the Skewness of Music Sales’, Journal of Political Economy, 117 (2), April, 324–69 4. Caroline Elliott and Rob Simmons (2011), ‘Factors Determining UK Album Success’, Applied Economics, 43 (30), 4699–705 5. W. Mark Crain and Robert D. Tollison (1997), ‘Economics and the Architecture of Popular Music’, Journal of Economic Behavior and Organization, 32 (2), February, 185–205 6. William A. Hamlen, Jr. (1994), ‘Variety and Superstardom in Popular Music’, Economic Inquiry, XXXII (3), July, 395–406 PART II LIVE MUSIC 7. Robert B. Ekelund, Jr. and Shawn Ritenour (1999), ‘An Exploration of the Beckerian Theory of Time Costs: Symphony Concert Demand’, American Journal of Economics and Sociology, 58 (4), October, 887–99 8. Peter E. Earl (2001), ‘Simon’s Travel Theorem and the Demand for Live Music’, Journal of Economic Psychology, 22 (3), June, 335–58 9. Nancy Bertaux, Kaleel Skeirik and David Yi (2015), ‘Art Music and the Economy: The Modernity Index and the Cincinnati Symphony Orchestra, 1895 to 2013’, International Journal of Economics and Business Research, 9 (4), 376–92 10. Bruno S. Frey (1994), ‘The Economics of Music Festivals’, Journal of Cultural Economics, 18 (1), March, 29–39 11. Grant C. Black, Mark A. Fox and Paul Kochanowski (2007), ‘Concert Tour Success in North America: An Examination of the Top 100 Tours from 1997 to 2005’, Popular Music and Society: Record Charts, 30 (2), May, 149–72 PART III DEMAND FOR MUSIC 12. Stan J. Liebowitz (2016), ‘How Much of the Decline in Sound Recording Sales is Due to File-Sharing?’, Journal of Cultural Economics: Economics of Music, 40 (1), February, 13–28 13. Wilfred Dolfsma (1999), ‘The Consumption of Music and the Expression of VALUES: A Social Economic Explanation for the Advent of Pop Music’, American Journal of Economics and Sociology, 58 (4), October, 1019–46 14. Ercilia García-Álvarez, Tally Katz-Gerro and Jordi López-Sintas (2007), ‘Deconstructing Cultural Omnivorousness 1982–2002: Heterology in Americans’ Musical Preferences’, Social Forces, 86 (2), December, 417–43 PART IV PRODUCTION OF MUSIC 15. William J. Baumol and Hilda Baumol (1994), ‘On The Economics of Musical Composition in Mozart’s Vienna’, Journal of Cultural Economics, 18 (3), September, 171–98 16. F. M. Scherer (2001), ‘The Evolution of Free-Lance Music Composition, 1650–1900’, Journal of Cultural Economics, 25 (4), November, 307–19 17. Karol Jan Borowiecki and Georgios Kavetsos (2015), ‘In Fatal Pursuit of Immortal Fame: Peer Competition and Early Mortality of Music Composers’, Social Science and Medicine, 134, June, 30–42 18. Mark Marotto, Johan Roos and Bart Victor (2007), ‘Collective Virtuosity in Organizations: A Study of Peak Performance in an Orchestra’, Journal of Management Studies, 44 (3), May, 388–413 19. Samuel Cameron and Alan Collins (1997), ‘Transaction Costs and Partnerships: The Case of Rock Bands’, Journal of Economic Behavior and Organization, 32 (2), February, 171–83 20. Cédric Ceulemans, Victor Ginsburgh and Patrick Legros (2011), ‘Rock and Roll Bands, (In)complete Contracts, and Creativity’, American Economic Review: Papers and Proceedings, 101 (3), May, 217–21 21. David Hesmondhalgh (1998), ‘The British Dance Music Industry: A Case Study of Independent Cultural Production’, British Journal of Sociology, 49 (2), June, 234–51 PART V PRICE OF MUSIC RELATED GOODS 22. Kathryn Graddy and Philip E. Margolis (2011), ‘Fiddling with Value: Violins as an Investment?’, Economic Inquiry, 49 (4), October, 1083–97 23. Patrick Georges and Aylin Seçkin (2013), ‘Black Notes and White Noise: A Hedonic Approach to Auction Prices of Classical Music Manuscripts’, Journal of Cultural Economics, 37 (1), February, 33–60 24. Dennis Halcoussis and Timothy Mathews (2007), ‘eBay Auctions for Third Eye Blind Concert Tickets’, Journal of Cultural Economics, 31 (1), March, 65–78 25. Samuel Cameron (2008), ‘E-Baying for Blood?: Noncompetitive Flexible Pricing in Entertainment Ticketing – Some Demand Side Evidence’, Applied Economics, 40 (10), 1315–22 26. Samuel Cameron and Mike Reynolds (2015), ‘The Value of Collecting a Particular Musical Artist: The Case of MiniDiscs’, Briefing Notes in Economics, 91, September, 1–9 PART VI LABOUR MARKETS AND OWNERSHIP 27. Claudia Goldin and Cecilia Rouse (2000), ‘Orchestrating Impartiality: The Impact of “Blind” Auditions on Female Musicians’, American Economic Review, 90 (4), September, 715–41 28. Sam Cameron (2003), ‘The Political Economy of Gender Disparity in Musical Markets’, Cambridge Journal of Economics, 27 (6), November, 905–17 29. Jack Bishop (2005), ‘Building International Empires of Sound: Concentrations of Power and Property in the “Global” Music Market’, Popular Music and Society, 28 (4), October, 443–71 30. Ram D. Gopal, Sudip Bhattacharjee and G. Lawrence Sanders (2006), ‘Do Artists Benefit from Online Music Sharing?’, Journal of Business, 79 (3), May, 1503–33 31. Juan de Dios Montoro Pons and Manuel Cuadrado García (2008), ‘Legal Origin and Intellectual Property Rights: An Empirical Study in the Prerecorded Music Sector’, European Journal of Law and Economics, 26 (2), October, 153–73 32. Samuel Cameron (2006), ‘Rock, Pop and Judicial Efficiency: Economic Considerations in the Spandau Ballet Decisions’, Journal of Interdisciplinary Economics, 17 (3), April, 327–44 33. Maya Bacache-Beauvallet, Marc Bourreau and François Moreau (2016), ‘Information Asymmetry and 360-Degree Contracts in the Recorded Music Industry’, Revue d’Économie Industrielle – Journal of Industrial Economics, 156 (4e trimester – 4th quarter), 57–90 34. Kieran James and Christopher Tolliday (2009), ‘Structural Change in the Music Industry: A Marxist Critique of Public Statements Made by Members of Metallica during the Lawsuit against Napster’, International Journal of Critical Accounting, 1 (1–2), 144–76 PART VII COMPETITIONS 35. Herbert Glejser and Bruno Heyndels (2001), ‘Efficiency and Inefficiency in the Ranking in Competitions: The Case of the Queen Elisabeth Music Contest’, Journal of Cultural Economics, 25 (2), May, 109–29 36. Victor A. Ginsburgh and Jan C. van Ours (2003), ‘Expert Opinion and Compensation: Evidence from a Musical Competition’, American Economic Review, 93 (1), March, 289–96 37. J. Atsu Amegashie (2009), ‘American Idol: Should it be a Singing Contest or a Popularity Contest?’, Journal of Cultural Economics, 33 (4), November, 265–77 38. Luc Champarnaud (2014), ‘Prices for Superstars Can Flatten Out’, Journal of Cultural Economics, 38 (4), November, 369–84 Index

Read more less

Book SynopsisA number of recent studies have responded to neoliberal understandings of entrepreneurship, creativity and innovation in the cultural and creative industries, and beyond. Although in recent years, the features of working life in this sector have been well-documented, little research seems to have looked at the psychosocial impact on the working lives of individuals. Fantasy, Neoliberalism and Precariousness draws on the results of an original empirical study of independent musicians based in Brooklyn, San Francisco, Portland, Stockholm and Paris, and considers how experiences of precariousness and insecurity under conditions of neoliberalism threatens the well-being and self-realisation of aspiring musicians. Vachet examines anxiety, narcissism, recognition and self-esteem from a sociological perspective, considering them through the lens of social class and gender. Contributing to debates within cultural studies, sociology and the political economy of communication about working lives in the cultural and creative industries, Vachet answers to-date unexplored questions around the psychosocial impact of precariousness and other problematic features of work in the cultural industries.Trade ReviewAt a time when connections between gig work and neoliberal discourses of entrepreneurialism, autonomy, flexibility, and freedom are increasingly invoked, Jeremy Vachet’s well researched and theoretically rich treatise illuminates the pernicious psychosocial effects of the precarious working conditions of independent cultural workers. Integrating Interviews with independent musicians across five global cities, participant observations, and his own experiences as a musician, this work deftly illuminates the ways structural, normative, gendered and class pressures become enmeshed within a complex set of coping strategies and defense mechanisms, mechanisms which ultimately prevent individuals from flourishing. Filled with irony, compassion, insight, and hope, this book builds upon previous sociological, communicative, and psychoanalytic work on cultural labor and has wide ranging significance for anyone interested in the personal and collective impact of new forms of labor. -- Cynthia Stohl, Distinguished Professor of Communication, University of California, Santa BarbaraEven the best research on the impact of “neoliberalism” on cultural workers has failed to investigate the experiences and emotions of those workers in any depth. This powerful study uses the helpful but neglected toolbox of psychosocial studies to prise open that black box. -- David Hesmondhalgh, Professor of Media, Music and Culture, University of LeedsTable of ContentsChapter 1. Introduction Chapter 2. Consequences of Individualisation: Pathologies of Freedom Chapter 3. Coping strategies and Defence mechanisms Chapter 4. Conclusion

Read more less

Book SynopsisThe untold story behind one of the most controversial album releases in modern music history, for fans of the Wu-Tang Clan, hip-hop music, and all those interested in the music industry. Take a kid with a dream. A legendary hip hop group. 6 years of secret recordings. A casing worthy of a king. A single artifact. Hallowed establishment institutions. An iconoclastic auction house. The world's foremost museum of modern art. A bidding war. Endless crises of conscience. An angry mob. A furious beef. A sale. A villain of Lex Luthor-like proportions. Bill Murray. The FBI. The internet gone wild. In 2007, the innovative Wu-Tang producer, Cilvaringz, feeling that digitisation increasingly supported the perception of music as disposable, took an incendiary idea to his mentor, hip hop legend, RZA: create a unique physical copy of a secret Wu-Tang album, to be encased in silver and sold through auction as a work of contemporary art. The plan raised a number of complex questions: Would selling one album for millions be the ultimate betrayal of music? How would fans react to an album that's sold on condition it could not be commercialised? And could anyone justify the ultimate sale of the album to the infamous pharmaceutical mogul Martin Shkreli? "An epic battle between colorful, creative maniacal heroes and one of the blandest beta-villains of our time. Couldn't put it down."Patton Oswalt, comedian and bestselling author of Silver Screen FiendTrade Review“An epic battle between colorful, creative maniacal heroes and one of the blandest beta-villains of our time. Couldn’t put it down.”Patton Oswalt, comedian and bestselling author of Silver Screen Fiend"[An] utterly candid work...Bozorgmehr's stirring account gives readers the insider's view of musical outlaws who possessed the best intentions of elevating hip-hop from its street moorings to more stylish, chic surroundings, and whose efforts exploded in a crisis of bad media coverage and soulless pharmaceutical drug merchants."Publishers Weekly

Read more less

Book SynopsisThe book’s focus is on successful music entrepreneurship and career development in the global music and entertainment industry. The list of specialized occupations filled by musicians is lengthy, e.g. performer, producer, arranger, composer, songwriter, lyricist, music editor, publicist, recording engineer, conductor, sound technician, manager, entertainment lawyer, promoter, booking agent, tour manager, music educator, vocal coach, private instructor, music supervisor, music programmer, electronic DJ, etc. There are also careers ancillary to music, such as event organizer, music therapist, radio station director, or entertainment director. Music plays an important role in advertising, marketing, video games, film, and digital media as well, and there are tie-ins to tourism, restaurant, and the hospitality industry. Music as an industry is multifaceted, and is a subset of the broader entertainment industry which includes sports, cinema, broadcasting, and creative digital media. The entertainment industry in aggregate is viewed as a potential growth area by governments and by commercial concerns, and often targeted and supported as a tool for sustainable international economic, social, and cultural development. There is even such a thing as music diplomacy, as a component of cultural or “soft power” diplomacy. As with many professions, the set of skills, knowledge, and strategies required to become successfully employed in the music and entertainment-related fields are not the same set of skills needed to do the actual jobs. Young musicians and others with the ambition to work in the music industry are often baffled by the many options available, conflicting information, and the lack of a clear path to success. They are thirsty for balanced and reliable knowledge about and clear direction on how to prepare for a career in the industry. Universities, colleges, and specialty training schools offer programs designed to help individuals prepare for careers in music, leading to certificates, diplomas, or degrees, including at the graduate level. But the focus of the trainings and curricula are most often only on the skills needed to perform the work and not on how to access the work through careful career preparation and entrepreneurial thinking. There is a dearth of relevant information about how to access the opportunities, leverage the training and the networks gained in school, and how to succeed through meeting the true demands of the industry. This book aims to fill this need.

Read more less

Book SynopsisDas Buch ist ein Novum. Erstmals werden die Grundlagen der Wahrnehmungstätigkeit der Gesellschaft für musikalisches Aufführungs- und mechanisches Vervielfältigungsrecht - GEMA umfassend dargestellt, fachkundig erläutert und wissenschaftlich durchdrungen. Dabei geht es neben den historischen und rechtlichen Grundlagen vor allem um die Darstellung und Erläuterung der "Binnenregeln" der GEMA: der Satzung, des Berechtigungsvertrags und des Verteilungsplans. Zudem wird eine Übersicht über die Praxis der Lizenzierung gegeben. Eine solche Darstellung ist seit langem ein Desiderat der Praxis und Wissenschaft. Berechtigten und Nutzern, Aufsichtsbehörden und Gerichten, aber auch Wissenschaftlern soll es zuverlässig Auskunft über die Wahrnehmungstätigkeit geben und so zur Transparenz beitragen.Table of Contents1. Teil: Grundlagen · 2. Teil: Die Organisation der GEMA · 3. Teil: Das Rechtsverhältnis zu den Berechtigten · 4. Teil: Das Rechtsverhältnis zu den Nutzern · 5. Teil: Die Rechtsbeziehungen zwischen Verwertungsgesellschaften · 6. Teil: Die Aufsicht über die GEMA

Read more less

Book SynopsisThis book is a critical history of Sub Pop, the Seattle independent rock label that launched the careers of countless influential 'grunge' bands in the late 1980s and early 1990s. It focuses in particular on the languages and personas of the 'loser', a term that encompassed the label's founders and personnel, its flagship bands (including Mudhoney, TAD and Nirvana) and the avid vinyl-collecting fans it rapidly amassed. The 'loser' became (and remains) the key Sub Pop identity, but it also grounded the label in the overt masculinity, sexism and transgression of rock history. Rather than the usual reading of grunge as an alternative to the mainstream, Lamestains reveals a more equivocal and complicated relationship that Sub Pop exploited with great success.

Read more less

Book SynopsisWhen pop Svengali Max of Big In Japan Records discovers Cara in a shop in Temple Bar, he immediately signs her up to his stable of young wannabees. Her friends cannot believe her luck. However little does Cara realize what’s in store for her. Overnight, he transforms her into Colleen: the Celtic popstar with strawberry-blonde extensions and snow-white teeth. Soon she discovers that Max’s plans don’t really include her voice. Whatever! But there are compensations, such as falling for the lead singer of another band and living it up in London. Max decides his protégée is ready to be launched onto the Irish-American circuit. Catapulted onto a mad tour tinged with shamrocks, sex and drugs, Colleen soon ends up on a Senate election bandwagon, and just as she becomes a ‘hit’, she finds that being a pop idol isn’t all it’s cracked up to be …Trade Review"An uproariously funny account of what it’s like to become a star in the music world!” —Louis Walsh

Read more less