Music industry Books
Rowman & Littlefield iTakeOver
Book SynopsisiTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system. All too commonly, scholars have asserted too confidently, how the rise and reign of digital music has diminished the power of major record labels. In iTake-Over, music scholar David Arditi argues otherwise, adopting a broader perspective by examining how the recording industry has strengthened copyright laws for their corporate ends at the expense of the broader public good, which has traditionally depended on the safe harbor of fair use. Arditi also challenges the dominant discourse over digital music distribution, which has largely adopted the position that the recording industry has a legitimate claim to profitability at the detriment of a shared culture. iTake-Over more specifically surveys the actual material effects that digital distribution haTrade ReviewFor more than a decade, record companies have warned of the dire consequences of illegal downloading of music and the imminent demise of their industry. Though many mom-and-pop record shops have indeed disappeared, the big record companies have not only survived but, according to Arditi, have strengthened their dominance of music culture. Far from being defensive reactions to widespread digital piracy, the prosecutions of Napster and the passage of legislation by Congress were part of an offensive strategy on the part of record companies to maintain their profits. Arditi divides this book into four main parts: Transformations in the Recording Industry, on the move to digital; The State in Music, on the role of government; The Recording Industry and Labor; and Digital Distribution and Surveillance. In each section the author shows how society has lost as corporations gained advantage. However, as Arditi concludes, despite the efforts by the record companies, the consuming public and performing musicians refuse to acquiesce totally to the industry view of how music should be consumed today. A valuable resource for those interested in the future of music in society. Summing Up: Highly recommended. All readers. * CHOICE *Throughout the book, Arditi consistently responds to industry-initiated narratives (whether artist- or label- or RIAAgenerated) with concrete data either directly to refute or contextualize within a larger framework, thereby arriving at a more credible conclusion. The strength of Arditi’s writing is in this construct, and it can be terribly effective: even in the first chapter, he calmly sets up the International Federation of the Phonographic Industry’s (IFPI) analysis of the dwindling retail value of music in the United States between 1995–2009 and then contrasts it with Nielsen SoundScan numbers from the same period, which show a remarkable increase. . . .[T]he content of the book...is undoubtedly excellent. * ARSC Journal *David Arditi’s book is an excellent study of the music industry’s political economy in the age of digital capitalism. He shows that it is not file sharers who are thieves, but that rather oligopolistic capitalist entertainment companies are thieves that exploit artists and not just steal surplus-value, but also commodify and destroy the cultural commons. The book is a highly astute and timely study that shows that we urgently need to overcome capitalism and create a commonist information society. -- Prof. Christian Fuchs, Journal Editor, tripleC: Communication, Capitalism & Critique and author of Digital Labour and Karl MarxDavid Arditi’s iTake-Over: The Recording Industry in the Digital Era expertly reassesses the technological, social, legal, and cultural transformations from 1995 to 2010 in the recorded music business as it shifts from more packaged physical commodity sales to mostly digital downloads and streaming services. The global music industry has faced, and then adapted to, tremendously disruptive changes in the consumption, marketing, production, and valorization of recorded music with the advent of the Internet and digital technologies over the last two decades. His book maps out why the major record labels quickly adapted how they produce music to remain more dominant players within the broader music industry game. This insightful analysis challenges the conventional wisdom by showing how fully digital production and distribution systems more deeply entrenched, rather than somehow undermined, the industrial clout of these businesses. -- Timothy W. Luke, Virginia Polytechnic Institute and State UniversityDavid Arditi’s well-timed book, iTake-Over: The Recording Industry in the Digital Era examines the spurious relationship between digital downloads and the proposed end of the commercial recording industry. During this period record labels executives, their representatives and the general media foretold demise of recorded music with the development of mp3 file format. We continue to face an unparalleled era of accelerated change. How music executives respond and adapt to new realities will determine the success of their organizations. This well researched book is highly recommended for artists and practitioners, especially executives who will inevitably face new challenges to the creation, production, distribution and consumption of recorded music. -- Richard Strasser, Director, Music Industry Leadership Program, Northeastern UniversityTable of ContentsList of Figures and Tables Acknowledgments Preface Part I: Introduction Part II: Transformations in the Recording Industry Chapter 1Recording Industry in Transition Chapter 2The Expansion of Consumption in the Recording Industry Part III: The State in Music Chapter 3Copyright: A Critical Exploration Chapter 4Critical Junctures Part IV: The Recording Industry and Labor Chapter 5Musician Labor Chapter 6Victims, Musicians and Metallica Part V: Digital Distribution and Surveillance Chapter 7Distribution Then and Now Chapter 8Watching Music Consumption Part VI: Conclusion Bibliography Notes Index
£69.30
Rowman & Littlefield Music Business Essentials
Book SynopsisToday's music business is more challenging than ever, but music's availability and the consumption of this powerful force offer unprecedented opportunities for those with the desire to succeed. Music Business Essentials: A Guide for Aspiring Professionals takes musicians and beginning business students on a journey full of vital nuts and bolts knowledge as well as practical wisdom from a veteran industry professional.Although the dynamic music industry is always changing, Mark Cabaniss's concise and encouraging, yet realistic approach reveals unchanging principles to guide readers towards successful and fulfilling careers in music. From band dynamics and touring to songwriting and publishing and from branding and promotion to record labels and revenue streams, Cabaniss covers the entire music machine from the talent to the tax returns.Music Business Essentials is an easy-to-read introduction that will prove an invaluable handbook for reference time and again. It is ideal for college stTrade ReviewMark Cabaniss knows his stuff. This is a profoundly helpful book for anyone hoping to make their dreams come true in an increasingly difficult business. He covers the gamut with knowledge, insight and the wisdom of a decades-long career navigating the musical waters. This book just might be your golden ticket to success. -- Kathie Lee Gifford, Co-Host of the 4th hour of the Today Show with Hoda KotbMark Cabaniss has managed something extraordinary—the creation of a book about the music business that any artist can understand and actually use. Though the book is impressively comprehensive, beautifully organized and filled with vital, true data, the author has a purpose to inspire and genuinely wants his reader to succeed. This is no coincidence since aside from his being a great communicator and teacher, Mark is also a noted songwriter, publisher, playwright and producer in his own right. This work is more definitive than most because its author is smart, literate and has “walked the walk.” Thank you, Mark, for this extraordinary gift to all of your fellow artists. -- David Pomeranz, Multi Platinum Award-Winning Recording Artist and SongwriterMark Cabaniss has created the definitive guide to today's complex and challenging music business, written with all of Mark's renowned expertise, warmth and wit. An entertaining, patient and thorough roadmap through the bewildering landscape of today's music scene, it's the one book I would recommend to anyone starting out or simply trying to get their bearings. If you want to understand and navigate any aspect of the music industry, Music Business Essentials is the vital volume you must own...the go-to guidebook for any aspiring vocalist, musician, songwriter, publisher or record producer (or any of the above who would love a refresher course!). I only wish Music Business Essentials had existed when I was first starting out! -- Rupert Holmes, Tony-award winning composer and lyricist, RIAA-certified gold and platinum singer-songwriter-producerMusic Business Essentials gives you the vital information you need to have a successful and life-long career in the music industry. Cabaniss provides real-life experiences and examples of his walk through the various segments of the industry in order to help someone begin their own journey to success. -- Rush Hicks, Curb College of Entertainment and Music Business, Belmont UniversityTable of ContentsForeword Acknowledgements Introduction Chapter 1: To Thine Own Self Be True: Why Do the Music Business? Chapter 2: It All Begins with a Song Chapter 3: The Big Foundation: Music Copyright Chapter 4 Band on the Run: A Career in Performance Chapter 5 You Can Be a Star: Being a Solo Artist Chapter 6: From Song to Selling: Music Publishing Chapter 7: Dynamite or Dinosaur: Record Labels Chapter 8: Making It Rain: Revenue Streams Chapter 9: From Bricks to Clicks: Retail and Merchandising Chapter 10: Where Hollywood Meets Broadway: Music for Broadcasting, Film, and Theatre Chapter 11: Beethoven on Main Street: Arts Administration Chapter 12: The Final Mix: Getting It Done Glossary
£76.50
Rowman & Littlefield Music Business Essentials
Book SynopsisThe music business is an exciting, rewarding, confounding, treacherous, and exhilarating way in which to make a living. For those interested in following their dreams to enter this dynamic and ever-changing industry, nothing less than a road map is needed to navigate and strategize the journey.Music Business Essentials will take musicians and beginning business students on a journey which imparts not only vital nuts and bolts information about the business of music, but provides inspirational and practical tips from a veteran traveler who has successfully navigated his own music business path to success for over 25 years. This book is the perfect, easy-to-read introduction to the music industry and will be an invaluable handbook for reference time and again.Trade ReviewMark Cabaniss knows his stuff. This is a profoundly helpful book for anyone hoping to make their dreams come true in an increasingly difficult business. He covers the gamut with knowledge, insight and the wisdom of a decades-long career navigating the musical waters. This book just might be your golden ticket to success. -- Kathie Lee Gifford, Co-Host of the 4th hour of the Today Show with Hoda KotbMark Cabaniss has managed something extraordinary—the creation of a book about the music business that any artist can understand and actually use. Though the book is impressively comprehensive, beautifully organized and filled with vital, true data, the author has a purpose to inspire and genuinely wants his reader to succeed. This is no coincidence since aside from his being a great communicator and teacher, Mark is also a noted songwriter, publisher, playwright and producer in his own right. This work is more definitive than most because its author is smart, literate and has “walked the walk.” Thank you, Mark, for this extraordinary gift to all of your fellow artists. -- David Pomeranz, Multi Platinum Award-Winning Recording Artist and SongwriterMark Cabaniss has created the definitive guide to today's complex and challenging music business, written with all of Mark's renowned expertise, warmth and wit. An entertaining, patient and thorough roadmap through the bewildering landscape of today's music scene, it's the one book I would recommend to anyone starting out or simply trying to get their bearings. If you want to understand and navigate any aspect of the music industry, Music Business Essentials is the vital volume you must own...the go-to guidebook for any aspiring vocalist, musician, songwriter, publisher or record producer (or any of the above who would love a refresher course!). I only wish Music Business Essentials had existed when I was first starting out! -- Rupert Holmes, Tony-award winning composer and lyricist, RIAA-certified gold and platinum singer-songwriter-producerMusic Business Essentials gives you the vital information you need to have a successful and life-long career in the music industry. Cabaniss provides real-life experiences and examples of his walk through the various segments of the industry in order to help someone begin their own journey to success. -- Rush Hicks, Curb College of Entertainment and Music Business, Belmont UniversityTable of ContentsForeword Acknowledgements Introduction Chapter 1: To Thine Own Self Be True: Why Do the Music Business? Chapter 2: It All Begins with a Song Chapter 3: The Big Foundation: Music Copyright Chapter 4 Band on the Run: A Career in Performance Chapter 5 You Can Be a Star: Being a Solo Artist Chapter 6: From Song to Selling: Music Publishing Chapter 7: Dynamite or Dinosaur: Record Labels Chapter 8: Making It Rain: Revenue Streams Chapter 9: From Bricks to Clicks: Retail and Merchandising Chapter 10: Where Hollywood Meets Broadway: Music for Broadcasting, Film, and Theatre Chapter 11: Beethoven on Main Street: Arts Administration Chapter 12: The Final Mix: Getting It Done Glossary
£31.50
Hodder & Stoughton Rock Stars Stole my Life
Book Synopsis''The book is f***ing BRILLIANT! Just arrived NYC and wanked myself laughing. Literally tears. Irritated looks all around. What a great writer you are. It''s a classic. You absolutely got the whole shite early 70s thing down precisely as it was. Names, smells, sounds, looks, the food, drink, girls, boys! Mega! Well done.'' - Bob GeldofIn a sodden tent at a ''70s festival, the teenage Mark Ellen had a dream. He dreamt that music was a rich meadow of possibility, a liberating leap to a sparkling future, an industry of human happiness - and he wanted to be part of it. Thus began his 50-year love affair with rock and roll. From his time at the NME, Radio One, The Old Grey Whistle Test and Live aid, he has been at the molten core of pop''s evolution, and watched its key figures from a unique perspective. This funny and touching personal memoir maps out his eventful journey in rock and roll.It tells stories and settles scores. It charts the peaks and disappointments. It flTrade ReviewFull of engaging asides and deft, sometimes unsparing pen-portraits, this autobiographical souffle ends with three passages of unexpectedly disturbing power, in which Ellen glimpses the fate of a form of entertainment that has lost the sense of purpose and proportion it possessed during the years when his own tastes were being formed...It is a tribute to Ellen's resilience that not even this sensory assault can erode the powers of humour and observation that make his book so enjoyable. * The Guardian *There's a misty-eyed reverence for the past in Ellen's entertaining memoir of five decades surrounded by music. * The Observer *Thumbs Aloft! For men of several generations, the most eagerly anticipated memoir of the year is Mark Ellen's Rock Stars Stole My Life! and it doesn't disappoint. Subtitled 'A Big Bad Love Affair With Music', Ellen's book describes in beautifully crafted gambols his time working for the music press, from the NME in the Seventies right through to The Word in the noughties, via Smash Hits, Q, Mojo, Select and all places in between. Ellen has been at the coalface of rock hackdom for 40 years, yet unlike many of his contemporaries, he has always viewed his relationship with the music industry - and the preposterous entertainers it throws up - as a ridiculous pleasure rather than a burden. Ellen is not only one of the nicest men in the industry, he's also one of its funniest writers, and this books picks away at the hand that has fed him for all these years with such humour, and such delicacy, that it becomes impossible to put down. Here is a man who presented Live Aid, who presided over the most popular music magazine in the world, and who unwittingly became one of the last people to interview Michael Jackson in print. And it is never less than hilarious. This book will make you laugh, make you cry with joy, and send you scuttling over to what is left of your record collection to look for an Elvis Costello album you probably have not played since it was released. -- Dylan Jones * GQ *So Ellen's book is a riotous, wildly enthusiastic look back over a constantly changing industry and the larger-than-life characters who have dominated it. As the image of today's stars becomes ever more tightly controlled, Ellen's experiences make him one of the few who can pull back the curtain to expose the smoke and mirrors of this most glamorous, exciting and tawdry of industries. * Express *Hilariously indiscreet * The Times *The must read book * Red *Hang on to the shirt-tails of this book and it leads you right the way through --breathlessly. It's terrific! -- Danny BakerRiotous, entrancing and wildly enthusiastic. Exposes the smoke and mirrors of this most glamorous and tawdry of industries. * Sunday Express *Hectic, quietly perceptive and in a writing style best described as Acid Wodehouse. * New Statesman *The unteachable in pursuit of the unquotable. Knowingly ridiculous and very funny. * Independent on Sunday *Immensely readable. A series of golden ages witnessed first-hand. * The Observer *A cultural history of music fandom in a period of fascinating flux. * MOJO *Mark Ellen: the man with the best job ever! * Elle *A fantastic read -- Simon Mayo * BBC Radio 2 *Ellen not only has a tremendous eye for the glorious absurdity of the music industry, but a treasure chest of funny and occasionally touching anecdotes . . . he balances a fan's enthusiasm with sparkling reverence . . . Rock Stars Stole My Life! Is an upbeat and immensely readable account of a joyous addiction. * Mail on Sunday *The collection of people who cross Ellen's path - Blair, old housemate Anton Corbijn, Ellen's girlfriend Anji Hunter, Neil Tennant (who worked on Smash Hits), John Peel, Geldof - is enough to keep you turning the page. Having such a funny, charming guide doesn't hurt either. * The Independent *(a) wry, funny book * The Sun *Mark Ellen had us laughing all the way through. * Stylist *Your book is a joy. -- Jeremy Vine * BBC Radio 2 Arts Show *The book is f***ing BRILLIANT! Just arrived NYC and wanked myself laughing. Literally tears. Irritated looks all around. What a great writer you are. It's a classic. You absolutely got the whole shite early 70s thing down precisely as it was. Names, smells, sounds, looks, the food, drink, girls, boys! Mega! Well done. -- Bob GeldofMade me laugh out loud. -- Adam Boulton * New Statesman *Rock Stars Stole My Life reminds us that [pop music] can also be joyously ridiculous...Ellen relates a blessed life...with playful wit and indefatigable good humour. * Guardian *This year's most breezily entertaining pop memoir.... Ellen sails through pop history with an infectious joie de vivre that sends laughter tumbling from every page. * Daily Mail *entertaining... describes his past encounters with comic candour. * The Times *There's a misty-eyed reverence for the past in Ellen's entertaining memoir of five decades surrounded by music. -- Ben East * The Observer *
£9.49
Sage Publications Ltd Studying Popular Music Culture
Book SynopsisThat rare thing, an academic study of music that seeks to tie together the strands of the musical text, the industry that produces it, and the audience that gives it meaning... A vital read for anyone interested in the changing nature of popular music production and consumption - Dr Nathan Wiseman-Trowse, The University of Northampton Popular music entertains, inspires and even empowers, but where did it come from, how is it made, what does it mean, and how does it eventually reach our ears? Tim Wall guides students through the many ways we can analyse music and the music industries, highlighting crucial skills and useful research tips. Taking into account recent changes and developments in the industry, this book outlines the key concepts, offers fresh perspectives and encourages readers to reflect on their own work. Written with clarity, flair and enthusiasm, it covers: Histories of popular muTrade ReviewTim Wall′s Studying Popular Music Culture is that rare thing, an academic study of music that seeks to tie together the strands of the musical text, the industry that produces it, and the audience that gives it meaning. Wall acts as a wary guide to an industry that is currently in total flux, showing the reader how conventional histories of popular music are shaped by social, industrial and technical factors that ultimately leak over into the ways in which we listen to and interpret music. The new edition provides a timely account of the history of the recorded music industry as it responds to new technologies and industrial approaches, with an ever-keen eye on how industrial practice relates to the ways in which audiences consume and use popular music in a variety of ways. Wall′s lucid style provides a coherent summary of a cultural form that is never easy to grapple with at the best of times. Studying Popular Music Culture is a vital read for anyone interested in the changing nature of popular music production and consumption, whether as student, an industry insider or just a fan of popular music.Dr Nathan Wiseman-TrowseThe University of Northampton Table of ContentsIntroduction: Definitions and Approaches PART ONE: HISTORIES Constructing Histories of Popular Music Musical and Cultural Repertoires Social, Economic and Technical Factors Writing Popular Music History PART TWO: INDUSTRIES AND INSTITUTIONS An Overview of Popular Music Production Taking Issue with the Record Industry Popular Music and the Media PART THREE: FORM, MEANING AND REPRESENTATION Form Meaning Representation PART FOUR: AUDIENCES AND CONSUMPTION The Sociology of the Music Consumer Listening, and Looking Dancing Acquiring, Organising and Sharing music
£37.04
Bloomsbury Publishing PLC Music Entrepreneurship
Book SynopsisThe music industries hinge on entrepreneurship. The recent, rapid convergence of media and the parallel ongoing evolution of music businesses have again seen the focus shift to independent companies and individual entrepreneurs. Opportunities tend not to be advertised in professional music and practically everyone begins on their own: forming a band, starting a record label, running events, or building a website. But it's not an easy territory to navigate or get a handle on. Music Entrepreneurship features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies. Alongside contributions from key academics across the globe, expert contributors from across the industry highlight successful entrepreneurs and offers practical help to the reader trying to navigate the business. Sectors examined include: The value of the music industries Recorded music Live events BrandTrade ReviewThe book charts the ongoing evolution of music businesses and the focus shift to independent companies ... helping emerging artists to find opportunities that may be unadvertised in the professional field. * The Glasgow Herald *Table of ContentsPart One – the Music Environment: Introduction: The Need for the Music Entrepreneur; Chapter One: The Music Environment; Chapter Two: The Music Entrepreneur in the Global Marketplace; Chapter Three: Music as Space and Place Identity. Part Two – Case Studies: Case-study One: Recorded Music; Case-study Two: Live Performance; Case-study Three: Festival and Spectacle; Case-study Four: Publishing; Case-study Five: Artist and Artist Management; Case-study Six: Digital Media.
£26.99
Hodder & Stoughton Back to the Boy
Book Synopsis''The thought behind this book is not just me wanting to tell my story in the standard autobiographical fashion but to create a kind of self-help book that includes my story. There are many things people don''t know about me and maybe when they read about those things they will have an understanding of the journey I have been on, why I''ve made the mistakes I have and hopefully help other people overcome their adversities.''Life has presented its fair share of setbacks for James Arthur, from his disrupted childhood - during which he felt like a stray and a misfit, entering the care system in his teens - to a very public fall from favour just at the point when all his dreams should have been coming true. With an extraordinary comeback in 2016, starting with No. 1 single ''Say You Won''t Let Go'' and his Platinum album Back From The Edge, Back To The Boy shows the British singer and songwriter reflecting not only on his past but also on his retu
£10.44
Orion Publishing Co Hit Factories
Book SynopsisIrish Independent Music Book of the YearGuardian Book of the WeekAfter discovering a derelict record plant on the edge of a northern English city, and hearing that it was once visited by David Bowie, Karl Whitney embarks upon a journey to explore the industrial cities of British pop music.Manchester, Liverpool, Newcastle, Leeds, Sheffield, Hull, Glasgow, Belfast, Birmingham, Coventry, Bristol: at various points in the past these cities have all had distinctive and highly identifiable sounds. But how did this happen? What circumstances enabled those sounds to emerge? How did each particular city - its history, its physical form, its accent - influence its music? How were these cities and their music different from each other? And what did they have in common?Hit Factories tells the story of British pop through the cities that shaped it, tracking down the places where music was performed, recorded and sold, and the peoTrade ReviewThe book's a joy. I wanted to move to Hull while reading that chapter and - almost - wanted to listen to Black Sabbath for the first time since 1974 . . . I love the way Whitney makes such creative use of a good walk and I admire the way he makes the people who created the music we love seem like such nice, bright men and womenBook of the Week * Guardian *An extremely important addition to modern music writing * The Irish Times *A fine document of a golden era for music in the UK's regions * Financial Times *An interesting, sharp, swift overview of the UK's pop music history * Times Literary Supplement *Insightful and provocative * What Hi-Fi? Magazine *There are sounds here for everyone * MOJO *[Whitney's] curious compass leads this book on numerous worthwhile diversions. A trip * Q *
£9.49
Orion Publishing Co Access All Areas
Book SynopsisFirst as a journalist and then a publicist at Warner Brothers Records for nearly twenty years, Barbara Charone has experienced, first-hand, the changes in the cultural landscape. Access All Areas is a personal, insightful and humorous memoir packed with stories of being on the cultural frontline, from first writing press releases on a typewriter driven by Tip Ex, then as a press officer for heavy metal bands taking the bus up to Donnington Festival with coffee, croissants and the much more popular sulfate. To taking on Madonna, an unknown girl from Detroit, and telling Smash Hits ''you don''t have to run the piece if the single doesn''t chart'', and becoming a true pioneer in music, Charone continues to work with the biggest names in music, including Depeche Mode, Robert Plant, Foo Fighters and Mark Ronson at her agency MBCPR.The story of how a music-loving, budding journalist from a Chicago suburb became the defining music publicist of her generation, AccesTrade ReviewBarbara is the quintessential force of nature. In this great memoir her insatiable thirst for beauty and adventure is fabulously quenched, be it by great music, interesting people or ultimately a fine rosé, all for the reader to sit back and enjoy. Of course, having been in the right place at the right time also helps, and every day I thank my lucky stars we crossed paths years ago and I was permitted to join her on such a fabulous adventure. -- Rufus WainwrightFrom Keith Richards to Madonna to Mark Ronson, the inimitable BC is a music industry legend and Access All Areas is the story of a life like no other -- Alexis PetridisBarbara Charone had a massive role in shaping my career over the past 15 years and she's one of the most adored figures in the music industry for good reason. Access All Areas is a warm, funny, boozy take on the last 40 years of the British music industry from the perspective of someone who helped shape it but is also obviously still a massive fan at heart. Her teenager-like enthusiasm for every project and artist she's ever worked beams from very page and as a music trivia junky, I lived for all the 80's Smash Hits-era insider information . . . This book rules -- Mark RonsonI loved this book! Smart, sharp and hilarious -- Suggs
£18.00
Orion Publishing Co Happy Trails
Book SynopsisAndrew Lauder is one of British record business''s most significant and highly influential figures but outside the music industry few people will probably know his name. He''s always retained a fan''s perspective which, combined with an exceptional knowledge of music, meant he was at ease around musicians and never happier than spending time with them. During the later ''60s and throughout the ''70s in particular (working at the legendary United Artists), he had a knack of being one step ahead of the next trend. In hindsight it''s easy to identify the changing eras in music but underground music, pub rock and punk in Britain, for example, evolved quite seamlessly and it was visionaries like Andrew who, instinctively, saw what was coming and helped bring about those transitions. He was ahead of the game in other ways too; pioneering a more creative way of marketing and promoting records and revolutionising the way catalogue was organised and presented. This is his story.Trade ReviewMany people who love music - or think they do - aspire to the A&R role. Some are chosen. Very few succeed. Hardly any succeed as significantly and consistently as Andrew Lauder. For 40 years, Andrew was an A&R man on whom those rivals kept the closest of eyes (I know that for certain because for a while I was one of them, and saw how good he was). Without making a fuss, without bothering - unlike so many -- about raising his own public profile, he applied his knowledge and enthusiasm to the business of identifying interesting musicians and helping them to reach an audience. * Richard Williams *Oh, so that's what happened...a crisp and more-ish read. Among the many qualities admired by us musicians who worked with Andrew was his modesty and self-effacement. It's remarkable how, in a book which documents his many successes and accomplishments, that lovely voice and manner is still unmistakable. * Nick Lowe *Lauder was co-founder of the labels Radar, F-Beat, Demon and Silvertone; this came after a decade in United Artists corporate trenches backing such unlikely nags as Can, Hawkwind, Dr Feelgood, and The Stranglers, as well as fading memories like the Groundhogs and Man. Characteristically discreet, his fascinating inside track on what went wrong with the Stones Roses exemplifies the collision of enthusiasm, licenced creativity, sharp practice and turf wars that made the music biz much more than just another office job. * Mojo *Warm and detailed, this is a great lid-lifter from a reliable, affable narrator...his enthusiasm and passion for pop is overwhelming. * Record Collector *Happy Trails is full of such quirks of good fortune that it's tempting to describe Andrew Lauder's career in A&R terms of luck, rather than his ability to detect and nourish talent. His good humour only cracks when discussing the contractual wrangles between his label, Silvertone, and the Stone Roses (not his fault - the dodgy contract pre-dated his involvement.) * Uncut *Happy Trails gives the reader a window into a charmed life that most of us can only dream of. * Shindig *A must read for fans of the seventies British underground. It was Lauder who created the environment within which Hawkwind could rise from the dishevelled jam band he signed in 1969, to become one of the most inventive acts of the early seventies. Lauder's far-sighted recruitment of Amon Düül II and Can lit the fuse for the 'krautrock' explosion of the early 1970s (a term, incidentally, that he loathed); and Lauder effectively god-parented the pub rock boom a couple of years later. * Goldmine *This welcome account (is) a joy to read * Caught By The River *Happy Trails is a book for music historians and crate diggers, particularly lovers of the blues from the '60s through to the '00s.Andrew Lauder's tale is a classic one: young and naïve country boy who came to the big city, fell into a random, entry-level but opportune position at the publishing company Southern Music, and went on to make his mark in the industry for half a century. During his tenure at various music companies in the UK Lauder released key albums from Elvis Costello, the Stranglers, Buzzcocks, Hawkwind, Can, Neu! and the Stone Roses. * Spin Magazine *Lauder is a solid writer, and presents his story with an authentically humble tone that really makes you want to sit down with him for a beer and chat. Can there be a better recommendation than that? * The Wire *Happy Trails is one of the most absorbing and relatable behind-the-scenes music business memoirs you'll ever read * Ugly Things *
£19.80
Southern Music Company The Band Directors Companion
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£37.49
Globe Pequot Press Einstein Michael Jackson Me
Book SynopsisHoward Bloomcalled the greatest press agent that rock and roll has ever known by Derek Sutton, the former manager of Styx, Ten Years After, and Jethro Tullis a science nerd who knew nothing about popular music. But he founded the biggest PR firm in the music industry and helped build or sustain the careers of our biggest rock-and-roll legends, including Michael Jackson, Prince, Bob Marley, Bette Midler, Billy Joel, Billy Idol, Paul Simon, Peter Gabriel, David Byrne, AC/DC, Aerosmith, Queen, Kiss, Grandmaster Flash and the Furious Five, Run DMC, ZZ Top, Joan Jett, Chaka Khan, and one hundred more. What was he after? He was on a hunt for the gods inside of you and me. Einstein, Michael Jackson & Me is Bloom''s storythe strange tale of a scientific expedition into the dark underbelly of science and fame where new myths and movements are made.Trade ReviewHoward Bloom called the greatest press agent that rock and roll has ever known by Derek Sutton, the former manager of Styx, Ten Years After, and Jethro Tull is a science nerd who knew nothing about popular music. But he founded the biggest PR firm in the music industry and helped build or sustain the careers of our biggest rock-and-roll legends, including Michael Jackson, Prince, Bob Marley, Bette Midler, Billy Joel, Billy Idol, Paul Simon, Peter Gabriel, David Byrne, AC/DC, Aerosmith, Queen, Kiss, Grandmaster Flash and the Furious Five, Run DMC, ZZ Top, Joan Jett, Chaka Khan, and one hundred more. What was he after? He was on a hunt for the gods inside of you and me. Einstein, Michael Jackson and Me is Howard s story the strange tale of a scientific expedition into the dark underbelly of science and fame where new myths and movements are made.
£16.99
Hal Leonard Corporation Songs for You the Whole Year Through Seasonal
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£37.49
Music Achievement Council A Practical Guide for Recruitment and Retention
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£13.46
Music Achievement Council Tips for Success Guide for Instrumental Music
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£13.46
Music Achievement Council Bridging the Gap Between Middle School and High
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£13.46
Hal Leonard Publishing Corporation The Music Show Video Series with Animated
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£22.94
Hal Leonard Publishing Corporation Kalanis World Rhythms Play Sing Music from the
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£41.24
Bloomsbury Publishing Plc The Bloomsbury Handbook of Popular Music Space
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
£152.00
Bloomsbury Publishing Plc Understanding Records Second Edition
Book SynopsisThe revised edition of Understanding Records explains the musical language of recording practice in a way any interested reader and student can easily understand. Drawing on readily available hit records produced since 1945, each section of this book explains a handful of core production and engineering techniques in chronological record-making sequence, elucidates how those techniques work, what they sound like, how they function musically, where listeners can hear them at work in the broader Top 40 soundscape, and where they fit within the broader record-making process at large. As the only book to introduce music production and its practical elements with no assumed prior knowledge, the revised edition includes: Exclusive print and video interviews with emerging and established recordists, including: Alex Chuck Krotz (Drake, Three Days Grace, Mother Mother); Kevin O' Leary (Shawn Mendes, The Glorious Sons, Monster Truck); Alastair Sims (Rush, The Tragically Hip, Barenaked LaTrade ReviewUnique and recommended ... First, it is a comprehensive resource to the practical elements of music production. Second, information is presented and illustrated in a style easily comprehensible to those with no previous knowledge. Third, Hodgson presents the recording process in chronological steps, each sub-divided into easily understood facets. Finally, everything is explained using accessible language that clarify the associated terminology and/or technology ... A worthy read and listen, both engaging and informative. * Leonardo Reviews *This diminutive 200-page text (first edition, 2010) offers more audio recording tips and techniques than publications four times its size. Hodgson (Western Univ., Canada), an experienced audio recordist and talented musician, provides in-depth, easy-to-understand explanations of the complexities of audio recording and mixing … Everyone interested in studio or audio production, whether at high school or college level, needs this excellent book. Summing Up: Highly recommended. All readers. * CHOICE *Understanding Records, Second Edition takes a very unique look at recording practice, and how to communicate what we hear when we listen to music. It breaks down and explores this extremely important part of music making like no other resource has done before, making this an invaluable field guide that everyone should read to take their skills in understanding music, and recording, to the next level! * Alex Krotz, Audio Engineer, Mixer, Editor, Producer, and Songwriter based in Toronto/Vancouver, Canada *Understanding Records provides a comprehensive toolbox for the listener who wishes to gain a deeper understanding of the processes that inform the construction of musical recordings and the factors that lie behind the effect they make. Now in a revised second edition, Hodgson’s accessible and highly readable exposition of recording practice remains a valuable resource for professional recordists and educators alike, as well as a great primer in music production for the generally interested reader. * Mark Marrington, Senior Lecturer in Music Production, York St John University, UK *There are certain texts in the field of music production analysis and pedagogy that lift the lid, so to speak, on the expected wisdom of a standardised train of thought. Hodgson’s updated book is exactly this. Whilst it does provide the reader some technical background in the field we work in, it draws upon, analyses, and portrays a vast array of different contemporary academic and professional thoughts and considerations. The author’s views express the musical artefact, the record, in a unique way and engaging way as a backdrop for the work. In this edition, the production process is totally updated with some excellent discussions around issues of our day such as loudness normalisation delivery and distribution. To those wishing to learn about the philosophy, not just the technology of record production, and to engage in meaningful discussion around the topic of the recorded medium, then this book isn’t just a field guide, it’s a mandatory thought provoker! * Russ Hepworth-Sawyer, Mastering Engineer, MOTTOsound, UK *Table of ContentsIntroduction Chapter One: Tracking Chapter Two: Signal Processing Chapter Three: Mixing Chapter Four: Mastering Chapter Five: Coda
£40.83
Bloomsbury Publishing Plc Cybermedia
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 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 ContentsAcknowledgments 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
£35.52
Bloomsbury Publishing Plc OneHit Wonders
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
£20.89
Bloomsbury Publishing Plc The Life Death and Afterlife of the Record Store
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
£20.89
Manchester University Press Welcome to the Club: The Life and Lessons of a
Book SynopsisFeaturing a foreword from Annie MacIn Welcome to the club, Manchester legend DJ Paulette shares the highs, lows and lessons of a thirty-year music career, with help from some famous friends.One of the Haçienda’s first female DJs, Paulette has scaled the heights of the music industry, playing to crowds of thousands all around the world, and descended to the lows of being unceremoniously benched by COVID-19, with no chance of furlough and little support from the government. Here she tells her story, offering a remarkable view of the music industry from a Black woman’s perspective. Behind the core values of peace, love, unity and respect, dance music is a world of exclusion, misogyny, racism and classism. But, as Paulette reveals, it is also a space bursting at the seams with powerful women.Part personal account, part call to arms, Welcome to the club exposes the exclusivity of the music industry while seeking to do justice to the often invisible women who keep the beat going.Trade Review‘Imagine the DJ is taking notes while everyone in the club is dancing. Welcome to the club is exactly that, notes of a DJ – the irrepressible sunlight of DJ Paulette. A fascinating insight into the music business by a northern Black woman.’Lemn Sissay, author of My Name Is Why'Icon. Trailblazer. Activist. Warrior. DJ Paulette has led the way for Black women and women everywhere in a global music industry riddled with racism and misogyny. She has blown apart the myths. This is a magnificent book. A manifesto for our times and a rallying call for the future.'Maxine Peake, actress and activist'Paulette continues to light the way for others, building in relevance and significance, wowing crowds, annihilating dancefloors. I would recommend Welcome to the club as an essential read for anyone and everyone. I thoroughly enjoyed it.'Craig Charles, actor, comedian, DJ, television and radio presenter ‘Paulette is someone I’ve always respected, admired and been inspired by. This book is beautifully written, incisive, dry, witty and real – true Mancunian honesty. What an adventure and a truly fascinating life.’Rowetta, member of the Happy Mondays'Paulette is a pioneer, a ground-breaker, a trailblazer and never afraid to hold a mirror up to the world to show that there is still so much more to do. A self-assured shimmy of a book that instantly transports you to the dancefloor and beyond. I love it!'Arielle Free, BBC Radio 1 presenter‘DJ Paulette's Welcome to the club is a testament to her ability to witness the dancefloor while blending memorable anecdotes that bring new life to the UK underground music scene. More than her fabulous landing in Paris, where she built a new world of listeners around her name and sound, it's the fact that Paulette turns notable moments in her thirty-year career into a close listening experience. There's a musical quality to this book that sounds like what Black women DJs have tried to tell the world – our unique experiences turn any party into a lively classroom. Paulette leaves curious students waiting for the next chapter so they can hear it like a song.’Lynnée Denise, DJ, writer and interdisciplinary artist‘When I first met Paulette, back in that pivotal space of early 1990s Manchester, I don’t think any of us really understood what we were getting out of nightlife beyond raw enjoyment. Now we've had a chance to re-evaluate those codes, to understand how much they meant in forming us as people. This book explains why nightlife matters, beamed in directly from a vanguard position behind the DJ booth. Paulette understands the philosophy of the nightclub because she was there when it was at its very best.’Paul Flynn, author of Good As You: 30 Years of Gay Britain ‘I arrived in 1990s Manchester, found a place to live and a job then got dragged up, went clubbing and there was DJ Paulette on the decks. She made being an outsider look hot, and I wanted in. Her energy and music were the soundtrack to my queer gender-bending dance floor years. Decades on I still want to be in her club. If music and clubbing played an important part in your life, then so will this book.’Kate O'Donnell, Artistic Director of Trans Creative'I now realise the weight of the obstacles and challenges Paulette overcame, her fortitude to compete in male-dominated arenas, the racism she undoubtedly encountered. Her mettle and contribution have clearly opened doors for the diversity and equality we strive for today.'Simon Dunmore, DJ and Founder of Defected Records & Glitterbox'With fierce resilience and passion, DJ Paulette’s travels through clubland reveal her personal triumphs over life’s adversities. A book filled with music and love, positivity and enthusiasm. 'Princess Julia, DJ, model and music writer‘Any list of the pioneers of the Manchester club scene, and the international scene it so heavily influenced, is not complete without the name of DJ Paulette. Ours is a city that celebrates those who challenge elites, break down barriers and open doors for others to walk through. Paulette has done all of those things and more and that is why we are so proud of her.’Andy Burnham, Mayor of Greater Manchester‘A thrilling ride around the world through the lens of a Black female DJ. Covering the good, the bad and the ugly, DJ Paulette tells it like it is. There are few visible Black female role models in the music industry and DJ Paulette is a passionate advocate for racial, gender and LGBTQ+ equality, but most of all she’s a legendary DJ. If you want a fresh, original voice on electronic dance music, culture, politics and more, this is the book for you!’John Shortell, Head of Equality, Diversity and Inclusion, The Musicians’ Union‘A refreshingly honest and positive queer voice. DJ Paulette’s memoirs are everything that club culture needs at the moment: Written with warmth and passion, this book continues the trend of female professionals telling their stories – the good and the bad ones – so that we learn how clubs can once again become the places of Peace, Love, Unity and Respect.’Dr Beate Peter, The Lapsed Clubber Project'A true original of the UK club scene, Paulette has experienced the highs and lows of dance music culture, and this heartfelt and insightful book tells the story of what she saw and learned with her distinctive style, warmth and wicked wit.'Matthew Collin, author of Rave On and Altered State'DJ Paulette has written a story that needed to be told, and as only she could tell it. Rich with experience and careful research, Welcome to the club is a must-read for anyone interested in house music, DJing and the power of life narrative.'Audrey Golden, author of I Thought I Heard You Speak'Welcome to the club is joyful, funny and furious. DJ Paulette’s essential read doubles up as an alternative history of dance music, told from the middle of the dancefloor. It’s a sparkling and generous ride through international high times and low moments, documenting music industry racism, sexism and homophobia with fabulous clarity. This pioneering DJ and musical instigator has written a full-bodied celebration of the myriad ways music can save your life – and can also make your life. 'Emma Warren, author of Dance Your Way Home'This book made me dizzy in a good way! Paulette is a great story teller who brings her musical journey to life in a way which entertains and inspires, much like her DJ sets and radio shows.'Mr. Scruff, record producer and DJ'This is one of those books whose absence from the canon of musical history goes largely unnoticed until it is written.'Louis Cammell, The Skinny‘This book is a timely reminder that history or herstory is not written yet and never over. It gives a valuable and personal account of the development of DJing as a professional music career and its beginnings in the LGBTQ community in Manchester at the start of the 1990s. At moments it is a disturbing and hard read, but read it one must. This is a much needed and powerful account for anybody interested in the music business and the development of dance music internationally.’Sally Anne Gross, music industry practitioner and academic'Paulette’s rollicking memoir takes you through unmarked doors vibrating with bass to celebrate a life lived to the full in dance music.'Frank Broughton, DJ History -- .Table of ContentsForeword by Annie MacIntroduction: welcome to the club (Belleville or bust)1 Finders keepers: in the beginning2 London to Paris: Eurostar3 Bad behaviour: shit shags and crap hotels4 FAQs (female asked questions)5 How to kill a DJ6 Sane as it ever was7 Lifetime VIP: a manifestoIndex
£19.00
Sage Publications Ltd Music Management, Marketing and PR
Book SynopsisThis book is your guide to the study and practice of music management and the fast-moving music business of the 21st century. Covering a range of careers, organisations, and practices, this expert introduction will help aspiring artists, managers, and executives to understand and succeed in this exciting sector. Featuring exclusive interviews with industry experts and discussions of well-known artists, it covers key areas such as artist development, the live music sector, fan engagement, and copyright. Other topics include: Managing contracts and assembling teams. Using data audits of platforms to adapt campaigns. Shaping opinions about music, musicians, events. How the music industry can be more diverse, inclusive, and equitable for the benefit of all. Working with venues, promoters, booking agents, and tour managers. Branding, sponsorship, and endorsement. Funding, crowdsourcing and royalty collection. Ongoing digital developments such as streaming income and algorithmic recommendation. Balancing the creative and the commercial, it is essential reading for students of music management, music business, and music promotion – and anybody looking to build their career in the music industries. Dr Chris Anderton, Johnny Hopkins, and James Hannam all teach on the BA Music Business at the Faculty of Business, Law and Digital Technologies at Solent University, Southampton, UK.Table of ContentsIntroduction: Industry Overview and Theoretical Approaches Getting Started: Building Teams and Understanding Management Functions Artist Development Strategies Creating a Buzz Music Marketing Public Relations and Promotion Online Music: Media Platforms, Music Streaming and Music Recommendation Concerts and Festivals Branding and Sponsorship Copyright, Funding and Revenue Streams Beyond the Music: Well-Being and Equality Conclusion
£31.34
Sage Publications Ltd Music Management, Marketing and PR
Book SynopsisThis book is your guide to the study and practice of music management and the fast-moving music business of the 21st century. Covering a range of careers, organisations, and practices, this expert introduction will help aspiring artists, managers, and executives to understand and succeed in this exciting sector. Featuring exclusive interviews with industry experts and discussions of well-known artists, it covers key areas such as artist development, the live music sector, fan engagement, and copyright. Other topics include: Managing contracts and assembling teams. Using data audits of platforms to adapt campaigns. Shaping opinions about music, musicians, events. How the music industry can be more diverse, inclusive, and equitable for the benefit of all. Working with venues, promoters, booking agents, and tour managers. Branding, sponsorship, and endorsement. Funding, crowdsourcing and royalty collection. Ongoing digital developments such as streaming income and algorithmic recommendation. Balancing the creative and the commercial, it is essential reading for students of music management, music business, and music promotion – and anybody looking to build their career in the music industries. Dr Chris Anderton, Johnny Hopkins, and James Hannam all teach on the BA Music Business at the Faculty of Business, Law and Digital Technologies at Solent University, Southampton, UK.Table of ContentsIntroduction: Industry Overview and Theoretical Approaches Getting Started: Building Teams and Understanding Management Functions Artist Development Strategies Creating a Buzz Music Marketing Public Relations and Promotion Online Music: Media Platforms, Music Streaming and Music Recommendation Concerts and Festivals Branding and Sponsorship Copyright, Funding and Revenue Streams Beyond the Music: Well-Being and Equality Conclusion
£79.90
Cornerstone Night People
Book SynopsisFrom Mark Ronson, one of the most distinguished musical influencers of our time, comes a memoir that captures the music, characters, escapades, and energy of his DJ days in ''90s New York. At the dawn of the ''90s, Mark Ronson was a New York city prep school kid playing guitar in a mediocre band, harbouring far-fetched dreams of rock n'' roll stardom. His stepdad, Mick Jones from Foreigner, was an actual rock star, and his mum, Ann Dexter-Jones, lived like a rock star. But Ronson was the least talented musician in his own teenage band. Then, one Friday night in December 1992, he went to an all-ages rave in a warehouse downtown, and his entire life changed. He would devote himself to deejaying.Today, Ronson is one of the most influential DJ-songwriter-record producer-record executives of our time. A seven-time Grammy winner, Ronson has worked with legendary performers like Lady Gaga, Amy Winehouse, Adele, Paul McCartney, Quincy Jones, Bruno Mars, and countless others. In Night People, Ronson looks back at his early days as an upstart teenage DJ in the ''90s, conjuring the undeniable magic of the city''s nightlife--a time when clubs were diverse, glamorous, and a little lawless, and each night brought a heady mix of music, ambition, danger, delight, and possibility.Organised around the venues and nights that defined his experience of the downtown scene, Night People evokes the specific rush of that decade and those spaces--where fashion folks and rappers on the rise danced alongside club kids and 9-to-5''ers--and invites us into the tribe of creatives and partiers who came alive when the sun went down. A heartfelt coming-of-age tale--Night People is the definitive account of ''90s New York nightlife, and the making of a musical genius.
£21.25
Rowman & Littlefield Music Copyright: An Essential Guide for the
Book SynopsisWith behind-the-scenes anecdotes from the halls of power, real-world case studies and tips from successful industry players, Music Copyright: An Essential Guide for the Digital Age equips readers with the tools they need to navigate the complex world of music copyright. Covering such topics as music publishing, placements, performance rights, neighboring rights, and the global environment for music licensing, this book is essential to any music enterprise. Music industry insider Casey Rae inspires confidence in setting and achieving goals in a highly competitive marketplace through tips, strategies, and implementable work plans that make setting and achieving copyright goals achievable right out of the gate. With powerful insights from all corners of the industry, Music Copyright demonstrates how creator, technology and fan communities can work together to support a healthier music ecosystem that generates value for creators, businesses and fans.
£69.70
Rowman & Littlefield Music Copyright: An Essential Guide for the
Book SynopsisWith behind-the-scenes anecdotes from the halls of power, real-world case studies and tips from successful industry players, Music Copyright: An Essential Guide for the Digital Age equips readers with the tools they need to navigate the complex world of music copyright. Covering such topics as music publishing, placements, performance rights, neighboring rights, and the global environment for music licensing, this book is essential to any music enterprise. Music industry insider Casey Rae inspires confidence in setting and achieving goals in a highly competitive marketplace through tips, strategies, and implementable work plans that make setting and achieving copyright goals achievable right out of the gate. With powerful insights from all corners of the industry, Music Copyright demonstrates how creator, technology and fan communities can work together to support a healthier music ecosystem that generates value for creators, businesses and fans.
£29.70
Rowman & Littlefield Creating the Revolutionary Artist:
Book SynopsisAs traditional music career paths become increasingly scarce, 21st-century musicians must reach out to new and diverse audiences to ensure career success and sustainability. Many universities and conservatories now offer entrepreneurship courses for their students, but musicians already in the working world must also learn to build relationships with their communities, jumpstart and fund new initiatives, engage new audiences, and ultimately create successful and meaningful careers. Creating the Revolutionary Artist challenges performers to build increased audiences through creative action and community involvement. Based on Mark Rabideau’s revolutionary online text The 21CM Introduction to Music Entrepreneurship, this book will jumpstart the careers of musicians and artists in all styles and at all levels as it lays out business and project management acumen within a talent-driven spirit of civic-mindfulness. Drawing together the real-world wisdom of world-class musicians and educators, the book includes strength identification and idea creation exercises, inspiring case studies, and a toolkit of how-to guides to lead the reader through a successful community-based project and on to a rewarding career in the arts.Trade ReviewHere is an innovative framework for ideation and action to create projects that drive impact and income. Highly recommended for artists and arts educators who are committed to creating a new sense of relevance. -- Susan de Weger, founder of, Notable Values and associate lecturer in music entrepreneurship, Melbourne Conservatorium of MusicMark Rabideau is one of the most enthusiastic and clued-in members of the forward-thinking music community. This book will empower anyone who fully digests its message. -- Mike Block, cellist; singer; composer; associate professor, Berklee College of Music; and founder of the Mike Block String CampMark Rabideau not only asks painfully difficult questions, he goes on to positive and constructive answers, which will arm the contemporary artist-entrepreneur with the weapons needed to fight this good fight. -- John Kenny, professor for contemporary music, Guildhall School of Music and Drama, London and professor of sackbut and trombone, Royal Conservatoire of ScotlandThis book does something astonishing. It leads readers on a journey out of the box, leaving them in a new landscape that they’ll in part have created for themselves and in which they’re ready to be astoundingly creative. -- Greg Sandow, composer, critic, educatorRabideau has created a thorough and tremendously useful resource for performers. His analysis is spot on, and he has truly captured the essence of the successful 21st-century musician. -- Justin Kantor, co-founder and& managing member ,of (Le) Poisson Rouge and faculty at tThe New School’s Mannes ConservatoryTable of ContentsAcknowledgments Foreword How to Use this Book Background 1.To Be a 21st-Cetury Musician 2.Exploring Curiosity: Finding Opportunities to Make a Community Impact 3.Assessing Your Strengths: Tenacity and the Superpowers 4.Thinking about Creativity: Fueling the Imagination 5.Building a Team: Collaboration and Networking 6.Problem Solving: Developing Solutions that Work for You 7.Diversity and inclusivity: Abandoning Bias and Listening to Voices Unlike Our Own 8.The Business Side: Laying the Groundwork for a Successful Project 9.From Inspiration to Action: Your Project Takes Flight 10.Getting the Word Out: Storytelling, Marketing, and Communications Strategy 11.Finding the Funds: Donations, Grants, and Finance Management 12.From Single Project to Rewarding Career: Continuing the Revolution Epilogue Toolkit Index About the Author
£64.80
Rowman & Littlefield Creating the Revolutionary Artist:
Book SynopsisAs traditional music career paths become increasingly scarce, 21st-century musicians must reach out to new and diverse audiences to ensure career success and sustainability. Many universities and conservatories now offer entrepreneurship courses for their students, but musicians already in the working world must also learn to build relationships with their communities, jumpstart and fund new initiatives, engage new audiences, and ultimately create successful and meaningful careers. Creating the Revolutionary Artist challenges performers to build increased audiences through creative action and community involvement. Based on Mark Rabideau’s revolutionary online text The 21CM Introduction to Music Entrepreneurship, this book will jumpstart the careers of musicians and artists in all styles and at all levels as it lays out business and project management acumen within a talent-driven spirit of civic-mindfulness. Drawing together the real-world wisdom of world-class musicians and educators, the book includes strength identification and idea creation exercises, inspiring case studies, and a toolkit of how-to guides to lead the reader through a successful community-based project and on to a rewarding career in the arts.Trade ReviewHere is an innovative framework for ideation and action to create projects that drive impact and income. Highly recommended for artists and arts educators who are committed to creating a new sense of relevance. -- Susan de Weger, founder of, Notable Values and associate lecturer in music entrepreneurship, Melbourne Conservatorium of MusicMark Rabideau is one of the most enthusiastic and clued-in members of the forward-thinking music community. This book will empower anyone who fully digests its message. -- Mike Block, cellist; singer; composer; associate professor, Berklee College of Music; and founder of the Mike Block String CampMark Rabideau not only asks painfully difficult questions, he goes on to positive and constructive answers, which will arm the contemporary artist-entrepreneur with the weapons needed to fight this good fight. -- John Kenny, professor for contemporary music, Guildhall School of Music and Drama, London and professor of sackbut and trombone, Royal Conservatoire of ScotlandThis book does something astonishing. It leads readers on a journey out of the box, leaving them in a new landscape that they’ll in part have created for themselves and in which they’re ready to be astoundingly creative. -- Greg Sandow, composer, critic, educatorRabideau has created a thorough and tremendously useful resource for performers. His analysis is spot on, and he has truly captured the essence of the successful 21st-century musician. -- Justin Kantor, co-founder and& managing member ,of (Le) Poisson Rouge and faculty at tThe New School’s Mannes ConservatoryTable of ContentsAcknowledgments Foreword How to Use this Book Background 1.To Be a 21st-Cetury Musician 2.Exploring Curiosity: Finding Opportunities to Make a Community Impact 3.Assessing Your Strengths: Tenacity and the Superpowers 4.Thinking about Creativity: Fueling the Imagination 5.Building a Team: Collaboration and Networking 6.Problem Solving: Developing Solutions that Work for You 7.Diversity and inclusivity: Abandoning Bias and Listening to Voices Unlike Our Own 8.The Business Side: Laying the Groundwork for a Successful Project 9.From Inspiration to Action: Your Project Takes Flight 10.Getting the Word Out: Storytelling, Marketing, and Communications Strategy 11.Finding the Funds: Donations, Grants, and Finance Management 12.From Single Project to Rewarding Career: Continuing the Revolution Epilogue Toolkit Index About the Author
£31.50
Rowman & Littlefield Historical Dictionary of the American Music
Book SynopsisThe US music industry is an exciting, fast-paced, marketplace which brings together creative and business interests to connect artists with audiences. This book traces the history of the music industry from the Colonial era to the present day, identifying trends and the innovative leaders who have shaped its course. This volume embraces the diversity of the American music industry, spanning classical to country and hip hop to heavy metal. Historical Dictionary of the American Music Industry contains a chronology, an introduction, appendixes that provide a comprehensive directory of college music business programs and a listing of all relevant music industry trade associations, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on important artists, managers, companies, industry terminology and significant trade associations. This book is an excellent resource for students, researchers, and anyone wanting to know more about the business of music.Trade ReviewIn this useful dictionary, Hatschek and Wells (both, Univ. of the Pacific) cover composers, performers, organizations, terminology, concepts, and practices important in the music industry and its evolution in the US. The authors attempt to cover the rich diversity of musical styles, but the primary emphasis is on the popular music industry because it is the greatest portion of the US music marketplace, as measured by revenue. Biographical coverage is representative rather than comprehensive because many more individuals have contributed to the development of the music industry than can be included in a single volume. However, many important technological terms are defined, and this contributes substantially to the value of the dictionary. Also of considerable value are a substantial introduction tracing the history of the American music industry from Colonial times to the present day and three appendixes, the first a list of music industry trade associations, the second a list of academic programs, and the third a recording and broadcast chronology. Hatschek and Wells also provide a substantial bibliography. Summing Up: Recommended. Lower-division undergraduates through faculty and professionals * CHOICE *Table of ContentsAcknowledgments Reader’s Notes Acronyms and Abbreviations Recording and Broadcast Chronology Introduction The Dictionary Appendix I: Directory of US Music Business Academic Programs Appendix II: Music Industry Trade Assoc US & Canada Bibliography About the Author
£76.50
Rowman & Littlefield The Artist Entrepreneur: Finding Success in a New
Book SynopsisThe conventional means of pursuing an arts career is evolving at a rapid pace, and a paradigm shift is required for artists to re-invent how they will shape their own careers. To do so, one must have the tools and a vision for what is possible. As such, this book will firstly discuss how to unlock and nurture the creative process. Attacking creativity as a process to be honed will allow the student to develop the big idea projects necessary to be successful in today's arts performance landscape. In addition to the creative process, the typical college curriculum also never addresses what a technical rider is, how an artist protects their intellectual property, how composers obtain commissions, how to communicate with arts presenters, book a tour, handle the logistics of a tour, deal with taxes and bookkeeping, or understand contracts with gallery owners or presenters. As traditional performing jobs wane, a sea change in student preparation is needed. Addressing students across the artistic spectrum, this book offers ideas and examples of ways to develop a new generation of Artist Entrepreneurs prepared for the new arts economy.Table of ContentsIntroduction Chapter 1: A Model for Success Chapter 2: What’s the Story? - Finding Your Soul Chapter 3: Finding Your Creative Space Chapter 4: It’s Not About The Money, Yet! Chapter 5: Choosing and Building Your Team Chapter 6: The Emerging Artist and Self-Management Chapter 7: Minding Your Own Business Chapter 8: Arts Leadership Chapter 9: Marketing and the Use of Social Media Chapter 10: We Got the Gig! Now What? Chapter 11: Funding Your Project Afterward References Appendix- Technical Rider Example 1 (Music) Appendix- Technical Rider Example 2 (Dance) Appendix- Technical Rider Example 3 (Theater) Appendix- Contract Example
£64.80
Rowman & Littlefield The Artist Entrepreneur: Finding Success in a New
Book SynopsisThe conventional means of pursuing an arts career is evolving at a rapid pace, and a paradigm shift is required for artists to re-invent how they will shape their own careers. To do so, one must have the tools and a vision for what is possible. As such, this book will firstly discuss how to unlock and nurture the creative process. Attacking creativity as a process to be honed will allow the student to develop the big idea projects necessary to be successful in today's arts performance landscape. In addition to the creative process, the typical college curriculum also never addresses what a technical rider is, how an artist protects their intellectual property, how composers obtain commissions, how to communicate with arts presenters, book a tour, handle the logistics of a tour, deal with taxes and bookkeeping, or understand contracts with gallery owners or presenters. As traditional performing jobs wane, a sea change in student preparation is needed. Addressing students across the artistic spectrum, this book offers ideas and examples of ways to develop a new generation of Artist Entrepreneurs prepared for the new arts economy.Table of ContentsIntroduction Chapter 1: A Model for Success Chapter 2: What’s the Story? - Finding Your Soul Chapter 3: Finding Your Creative Space Chapter 4: It’s Not About The Money, Yet! Chapter 5: Choosing and Building Your Team Chapter 6: The Emerging Artist and Self-Management Chapter 7: Minding Your Own Business Chapter 8: Arts Leadership Chapter 9: Marketing and the Use of Social Media Chapter 10: We Got the Gig! Now What? Chapter 11: Funding Your Project Afterward References Appendix- Technical Rider Example 1 (Music) Appendix- Technical Rider Example 2 (Dance) Appendix- Technical Rider Example 3 (Theater) Appendix- Contract Example
£31.50
Rowman & Littlefield The Enterprising Musician's Legal Toolkit
Book SynopsisThe Enterprising Musician’s Legal Toolkit takes musicians from business ideation to self-protection using annotated contracts and other legal content. The book will expand upon The Enterprising Musician’s Guide to Performer Contracts by providing detailed advice to musicians for designing and launching their creative enterprise, remaining accountable to themselves through goal-setting, confidently engaging in entrepreneurial collaboration, and making money through the exploitation of their work while protecting their intellectual property rights and other interests.Table of ContentsPart I: Getting StartedChapter 1—Choosing the Business Structure That’s Right for YouPart II: Traditional For-Profit Legal StructuresChapter 2—Sole ProprietorshipsChapter 3—PartnershipsChapter 4—Limited Liability CompaniesChapter 5—CorporationsPart III: Nonprofit and Hybrid Legal StructuresChapter 6—Nonprofit OrganizationsChapter 7—Hybrid Business ModelsPart IV: Compliance TopicsChapter 8—Startup ComplianceChapter 9—Help Wanted: Employees or Independent Contractors?Part V: Protecting Your Business and Protecting YourselfChapter 10—Collaborating with OthersChapter 11—Understanding CopyrightChapter 12—Music Licensing BasicsChapter 13—Other Contracts Useful for MusiciansAppendix A: Business Structures Comparison ChartAppendix B: Copyright Quiz AnalysisAppendix C: Quick Reference Music Licensing Chart
£69.30
Rowman & Littlefield The Enterprising Musician's Legal Toolkit
Book SynopsisThe Enterprising Musician’s Legal Toolkit takes musicians from business ideation to self-protection using annotated contracts and other legal content. The book will expand upon The Enterprising Musician’s Guide to Performer Contracts by providing detailed advice to musicians for designing and launching their creative enterprise, remaining accountable to themselves through goal-setting, confidently engaging in entrepreneurial collaboration, and making money through the exploitation of their work while protecting their intellectual property rights and other interests.Table of ContentsPart I: Getting StartedChapter 1—Choosing the Business Structure That’s Right for YouPart II: Traditional For-Profit Legal StructuresChapter 2—Sole ProprietorshipsChapter 3—PartnershipsChapter 4—Limited Liability CompaniesChapter 5—CorporationsPart III: Nonprofit and Hybrid Legal StructuresChapter 6—Nonprofit OrganizationsChapter 7—Hybrid Business ModelsPart IV: Compliance TopicsChapter 8—Startup ComplianceChapter 9—Help Wanted: Employees or Independent Contractors?Part V: Protecting Your Business and Protecting YourselfChapter 10—Collaborating with OthersChapter 11—Understanding CopyrightChapter 12—Music Licensing BasicsChapter 13—Other Contracts Useful for MusiciansAppendix A: Business Structures Comparison ChartAppendix B: Copyright Quiz AnalysisAppendix C: Quick Reference Music Licensing Chart
£28.50
Rowman & Littlefield The Best Jobs in the Music Industry: Straight
Book SynopsisThe Best Jobs in the Music Industry is an essential career guide for those who love music and are exploring different areas of the music industry beyond the obvious performer route. This second edition includes updates and even more interviews, giving a look at how music jobs have changed and the long-term impacts of COVID-19 on the industry.Michael Redman boils down the job requirements, skill sets, potential revenue, longevity, benefits, and challenges of a variety of music careers, from performer to label executive to recording engineer and music producer. Each description of a job starts with a short summary, followed by stories of the paths to success and the challenges you may confront—all in the words of real pros. Redman interviews over sixty professionals in the business, including Lee Sklar (session and touring musician), Damon Tedesco (scoring mixer), Brian Felsen (CEO of CD Baby), Mike Boris (worldwide director of music for McCann Advertising), David Newman (composer), Michael Semanick (re-recording mixer), Conrad Pope (orchestrator), Todd Rundgren (musician), Gary Calamar (music supervisor), Mark Bright (producer), and Scott Mathews (producer).Table of ContentsPreface AcknowledgmentsIntroductionChapter 1: Audio Engineer Michael Semanick—Re-Recording Engineer (Film)Craig Mann—Re-Recording Engineer (Film) Jimmy Douglass—Recording Engineer (Music) Dave Gross—Audio Engineer / ComposerRandy Mease—Recording Engineer (Audio Post-Production) Damon Tedesco—Scoring MixerEric Gast—Mixing Engineer (Music)Leslie Ann Jones—Recording Engineer (Music), Todd Rundgren—Recording Engineer (Music) Gary Chester—Recording Engineer (Advertising and Film Scores)Chapter 2: Booking Agent Lloyd Hanson—Peyton EntertainmentJ. J. Casseiere—The Agency Group Justin Bridgewater—The Agency GroupChapter 3: Composer Greg Sims—FilmChuck Carr—GamingDavid Newman—Film Andrew Sherman—AdvertisingTheodore Shapiro—FilmTed Masur—FilmRyan Lott—Advertising and FilmSteve Porcaro—TVLloyd Landesman—AdvertisingChapter 4: Digital DistributionAdam Parness—Rhapsody, Amazon Music, Spotify Brian Felsen—FormerPresident, CD Baby Chapter 5: Entrepreneur Dan Zaccagnino—CEO and Founder, Indaba MusicMichael Redman—Entrepreneur and Author Tristan Jehan—Founder, The Echo NestChapter 6: Lawyer and Business AffairsLance Grode—USC Law SchoolPhilip Cohen—Universal Studios Film, Television, and ProductionSteve Winogradsky—Independent Lawyer Chapter 7: Live Sound Larry Epstein—President, Paradise Show and Design Michael Redman—Live Sound MixerChapter 8: Mastering Engineer Ron Boustead—Revolution Mastering John Blanche—Criteria Recording Chapter 9: Music Editor Craig PettigrewEmily Rogers SwansonDaniel Carlin Chapter 10: Music EducatorChuck Archard—Professor at Rollins CollegeKeith Lay—Chair of Music technology at Full Sail UniversityForest Rodgers—Musician, Instructor Daniel Carlin—USC Thornton School of Music, Professor Chapter 11 Music ExecutiveSteven VincentChapter 12: Production Music Libraries Adam Taylor—President, Associated Production Music (APM)Michael Redman—President, MyMusicSourceChapter 13: Music Supervisor Kevin Edelman—Metalman Mike Ladman—Droga5 Gary Calamar—Go Music SupervisionRaphaella Lima—EA Games Paul Greco—Wunderman ThompsonMelany Mitchell—Independent Michael Freeman—Ogilvy & MatherRudy Chung— Co-Founder, Pusher Chapter 14: OrchestratorConrad PopePenka Kouneva Chapter 15: Part-Time Musician Jeff Matz—Lure Design Chapter 16: Music Producer Russ Titelman Phoenix Red Veit RennMark Bright Scott Mathews Chapter 17: Music Publishing David Simoné—Partner, Primary Wave Music PublishingEric Bettelli—Music ConnectionMark Bright—Chatterbox Music Jenna Rubenstien—JellybeanChapter 18: Record Label Tomas Cookman—Nacional Records Thaddeus Rudd—Mom & Pop RecordsChapter 19: Road Manager Mark Litten—Def Leppard and Metallica Mary Lou Arnold—Todd RundgrenSean Murray—Allison Krauss Chapter 20: Session MusicianTim Akers—KeyboardistArnold McCuller— Session SingerLee Sklar—BassistPaul Ill—Bassist, Songwriter Chapter 21: Songwriter Harold Payne Kevin Quinn Chapter 22: Software / Plugin DeveloperBjorn Roche—Independent Software Designer Yoad Nevo—WavesEd Gray—VP, Avid Technology, Inc., Pro ToolsChapter 23: Studio OwnerAndrew Sherman—Butter StudioMichael Redman—RedHouseChapter 24: Touring Musician Tim Akers—KeyboardistEric Levy—KeyboardistBilly Ashbaugh—DrummerArnold McCuller—VocalistLee Sklar—BassistNext Steps
£72.90
Rowman & Littlefield The Reel World: Scoring for Pictures, Television,
Book SynopsisThis fully updated and complete guide takes you inside the world of creating music for film, television, and—unique to this third edition—video games. It addresses a wide range of topics including musical aesthetics, cutting-edge technology and techniques, and current business aspects of the industry. The Reel World is packed with insider’s tips and interviews with some of the most influential film, TV, and video game composers, along with music editors, music supervisors, agents, contractors and studio executives. Rona also advises how to nurture positive relationships with your creative team and professionals in the industry. For the aspiring film, TV or video game composer, this book is a veritable cornucopia of useful information for pursuing scoring to picture as a career. Includes interviews with John Williams, Carter Burwell, James Newton Howard, Hans Zimmer, Mark Isham, Basil Poledouris, Ludwig Göransson, Marc Shaiman, John Powell, Wendy and Lisa, Joseph Trapanese, and Michael Giacchino.This book explores...The Creative Process: Making good musical choices The psychology of a good score Continuity and contrast, economy and musicality The importance of styles Technology: The best gear for film, TV and video game scoring Home studio design Synchronization Mixing for film, TV and video game scoring Career: Getting started Industry politics Demoing and finances Trade ReviewThe Reel World is an invaluable resource for anyone interested in making film music. It's one of a kind. -- James Newton Howard, Academy Award-nominated film composerAs timely and useful a book on the subject as I've seen. -- Robert Kraft, former president, 20th Century Fox MusicA must for anyone considering a career in film music. Informative and entertaining, it contains nuts-and bolts as well as big-picture thinking. -- Peter Golub, director, Sundance Film Music Program
£28.50
Rowman & Littlefield Introduction to Music Publishing for Musicians:
Book SynopsisAt a time when artists are independently releasing their own music and acting as their own self-publishers, there has never been a greater need for a simple and easy-to-read introduction to the business and creative aspects of music publishing for musicians. Written by two musicians and industry pros with decades of experience, Introduction to Music Publishing For Musicians is organized into seven clearly written sections that will help musicians save time and avoid getting screwed. These include: 1) The Basics of Copyrights, 2) Types of Publishing Income, 3) Publishing Companies and Types of Deals, 4) Creative Matters of Music Publishing, 5) Interviews With Today's Pros, 6) Things You Need To Know About Music Publishing's Future, and 7) It's a Wrap.The book features: Short digestible chapters written in a conversational tone to keep artists focused. Section-by-section FAQs that expand on key issues that musicians encounter today. Boxed text stories featuring current events to emphasize key concepts. Interviews with top beat makers, collaborators and more to provide secrets of success. A glossary to help you keep track of important publishing terms. Publishing resources offering to help you place and promote your music. Chapter quizzes and activity assignments to help measure your knowledge. Bobby Borg and Michael Eames have created a compact, simple and easy-to-read overview of today's music publishing industry that caters to both students and musicians (songwriters, producers, beat makers, and more) who want quick, up-to-date, credible, and relatable information so that they can get back to doing what they like best: creating music!
£27.90
Rowman & Littlefield The Orchestral Conductor's Career Handbook
Book Synopsis
£73.10
Rowman & Littlefield The Orchestral Conductor's Career Handbook
Book Synopsis
£32.40
Rowman & Littlefield Managing Your Band: A Guide to Artist Management
Book Synopsis
£96.90
Rowman & Littlefield Managing Your Band: A Guide to Artist Management
Book SynopsisManaging Your Band is the go-to guide for artist management and provides tools for students and musicians, especially independent artists taking the DIY route, to maximize success in the new music industry. This 7th edition includes updated information artists and managers and addresses the impacts of COVID-19 on the industry.
£29.70
Rowman & Littlefield The Working Musician's Handbook for Professional
Book Synopsis
£68.80
Rowman & Littlefield The Working Musician's Handbook for Professional
Book Synopsis
£24.30
Rowman & Littlefield Personal Finance for Musicians
Book SynopsisAre you tired of living paycheck-to-paycheck, being broke and in debt, and watching everyone else become independently wealthy? Well, you’ve come to the right place. Many musicians will admit they know little about personal finance. In Personal Finance for Musicians, music industry and finance experts Bobby Borg and Britt Halsey coach you on how to: Make and save money Increase your credit score Protect yourself from identity theft Get out of debt Understand investment apps Invest responsibly Protect your assets Build a “freedom fund” for the future Limit your tax liability And so much more… With step-by-step action tips and short digestible chapters that can be read in any order, this book is presented in a no-nonsense, easy-to-read style that any musician can grasp. The objective is to educate and inspire you, without intimidating, or even worse—boring you. Let this book be your guide to financial success today!Trade ReviewThis book contains time-proven personal finance and investing wisdom to encourage musicians toward their dreams. In a noisy world where everybody wants to sell you something, this book is the music of common-sense investing. -- Rick Van Ness, author and educator at FinancingLife.orgWith short chapters that can be read in any order, actionable steps, and clearly-written text, this handy finance guide should be recommended course reading for any up-and-coming musician. -- Ashraf Almurdaah, professor of Finance and Economics, Los Angeles City College
£62.10
Rowman & Littlefield Personal Finance for Musicians
Book SynopsisMany young musicians will admit they know little about personal finance. They have trouble budgeting what little money they make from their part-time jobs, carry debt incurred by ringing up credit cards on studio equipment they cannot afford, and get lured into using the latest investment apps that have them putting grandma’s birthday card money into investments they may not even understand. Even worse, when that rare musician gains financial and career success, they often go on a mad spending spree only to end up completely broke ten years later. You don’t want this to happen to you, right? This is why a simple and easy-to-read book written specifically for musicians about personal finance is so vital to understanding and success.Written by a 30-year expert in the music business together with a 30-year specialist in the investment industry, Personal Finance for Musicians provides a brief overview of everything you should have learned in school but didn’t. Topics include: developing the right mind-set, paying-off debt, budgeting and saving, building credit, dealing with banks, paying taxes, insuring your assets, understanding investments, examining music revenue streams, learning the lingo, seeking financial help, avoiding financial noise, and more. This book provides an excellent introduction for musicians whose knowledge is limited or who are new to the critically important subject of personal finance. The objective is to help put you on the right track to better financial health and inspire you to learn more without intimidating you, or even worse—boring you.
£18.99
Rowman & Littlefield Career Choices in Music beyond the Pandemic:
Book SynopsisChoosing a career is one of the most important decisions we make in our lifetime. Career choice is more than working to earn a living but also an important window into how we identify and feel about ourselves. There are multiple issues involved in every career choice, particularly in the pursuit of a career in music performance. Influenced by her hybrid background in music performance, psychology, and psychoanalysis, Julie Jaffee Nagel addresses the joys and challenges of career choice in music, with a specific focus upon the classical performing musician. She addresses a wide range of pressing topics related to such a career choice at a time when jobs and income for musicians are diminishing and COVID-19 has had a monumental, long-term impact on the arts. This includes feelings of burnout, career change and redirection, the need for self-care, mental health issues related to the lack of jobs and income, and the oftentimes crippling standards of professional performing musicians. In addition, Nagel also points to potential opportunities and advocates new roles for musicians in the wake of a transformed music industry and society. Despite the numerous challenges performing musicians face in their careers, music can play a powerful role in mental life and society, helping us cope with the ravages and losses of the pandemic and other important events, and this can serve as much inspiration and reinvigorate professional musicians questioning the purpose of their career. All of these themes are developed through stories, clinical examples, anecdotes, research data, and personal reflection.Trade ReviewJulie Nagel knows the field as a trained musical performer and a practicing clinician who is an international authority on work inhibition and performance block. There is none better! -- Peter Loewenberg, history and political psychology, professor emeritus, University of California Los AngelesTable of ContentsPreludeAcknowledgmentsChapter 1 WorkChapter 2 Musicians and Money in the Wake of the PandemicSome Financial Facts: A Wake Up CallWhat Do Musicians Contribute?The Musician as “Product”Creative Responses to the PandemicWhy Should You Care About Music?Your Money or Your LifeChapter 3 Musical Development and Psychological Development Erik Erikson: Development Over a Lifetime“Ratios”: Life as a Balancing ActCarolyn’s MonkeyErikson’s Eight Stages for the MusicianEarly Stages (ages 1-4)Middle Stages (ages 5-7)Late Stage: Stage 8 (ages 65+)Chapter 4 The Meaning of Money and “Psychic Income”Early Issues about Giving and ReceivingAttention and Money: Symbolic NourishmentWhat Do Money and Stage Fright Share in Common?How Much are You Worth? Patrons and AngelsBuying LoveNourishing Starving ArtistsChapter 5 Four Types of Personality Who Seek Music CareersThe Identity Status InterviewThe Four Categories of the ISIWhat Does ISI Data Explain?Ken: Integrating Past and PresentConclusion: Research and Clinical WorkChapter 6 Pursuit of Perfection The Disillusionment of OmnipotenceGrowing Pains and Emotional GrowthPursuit of Perfection: All the Right NotesMs. GMr. DResolution of Disillusionment: Grieving, Mourning, and Moving ForwardChapter 7 The Golden Allure of Celebrity: Reflections on Boundary Crossings in Psychoanalysis and MusicPlanning for the Big MeetingTemptationsDeeply DisappointedThe #MeToo Movement and Music EducationA “Perfect Storm”: Private Music LessonsA Rescue through “Love”A Higher Cost for EducationInstitutional CollusionsThe Bad Apple Doesn’t Fall Far From the TreeTreatment IssuesCodaChapter 8 Rethinking Music EducationAsked and (as Yet) Unanswered QuestionsTeaching Talented Musicians: The University and ConservatoryNurturing Healthy MusiciansHow to Destroy Creativity in Music Students: A Paraphrase of Otto KernbergEducating Healthy People Who Are MusiciansA Healthy Music ProfessionChapter 9 Music and Mind Outside the BoxThe Value of Music: Past and FutureThe Impact of Music: Historical PrecedentsMusicians and Mental Health Professionals as Non-Traditional First RespondersMusic and Therapy in and beyond the Consulting RoomBeyond the Teaching Studio and Concert HallHas Anything Good Resulted from the Pandemic?A Conclusion and a BeginningAbout the Author
£65.70
