A number of recent studies have responded to neoliberal understandings of entrepreneurship, creativity and innovation in the cultural and creative industries, and beyond. Although in recent years, the features of working life in this sector have been well-documented, little research seems to have looked at the psychosocial impact on the working lives of individuals. Fantasy, Neoliberalism and Precariousness draws on the results of an original empirical study of independent musicians based in Brooklyn, San Francisco, Portland, Stockholm and Paris, and considers how experiences of precariousness and insecurity under conditions of neoliberalism threatens the well-being and self-realisation of aspiring musicians. Vachet examines anxiety, narcissism, recognition and self-esteem from a sociological perspective, considering them through the lens of social class and gender. Contributing to debates within cultural studies, sociology and the political economy of communication about working lives in the cultural and creative industries, Vachet answers to-date unexplored questions around the psychosocial impact of precariousness and other problematic features of work in the cultural industries.

Since the 1990s the cruise industry has become one of the largest employers of musicians in the world. Thousands of professional musicians work on cruise ships daily, entertaining millions of passengers. Cruisicology: The Music Culture of Cruise Ships provides the first in-depth account of the culture and the industrial determinants of cruise ship music. Based on interviews with working musicians and coauthor David Cashman's experience as a cruise ship musician, this book investigates how music is organized and made onboard a cruise ship. David Cashman and Philip Hayward study the working life of musicians, why and how corporate shipping lines include music onboard their vessels, the history of musicians on passenger shipping, and the likely future directions of musical entertainment within the industry. Cashman and Hayward illustrate the positive and negative experience of artists making music every day in confined spaces with close proximity to their audiences.

The Beatles, the Bible and Bodega Bay presents two portraits: the young man in London on top of the Apple building (and on top of the world!) as he watches the Beatles perform for the last time, and the older man on a remote Sonoma beach on his knees looking out to sea and into the heart of his Creator. #1 Best Selling Beatles Book - Amazon.com #2 "Books About the Beatles" - Senior Editor, Rock, Amazon.com (Beatles Anthology listed as #1) MAJOR PRESS REVIEWS Barnes&Noble.com (Kevin Giordano) "There is something quite Lennonesque about Mansfield's soul-searching-his tales are astonishingly clear and vivid." Amazon.com (Gail Hudson) "It is his writing talent and depth of personal story that makes this spiritual memoir rock." Fox News Channel "A fabulous book about the Fab Four. It's historical and a must-have." Publishers Weekly, June 2000 "Eschewing the usual druggy histories of musicians, Mansfield delivers a book that is more philosophical than tell-all. There are enough tidbits to satiate any Beatle maniac, Library Journal, August 2000 "This is a ruminative and ultimately very personal journey through a man's life and his personal relationships with each member of the Fab Four. Washington Post, October 2000 "This account is a warm-hearted look at an exciting period, related by an observer who was often at the right place at the right time." ********************************** *Because of Ken's personal relationship, respect and loyalty to Apple and the Beatles he sought all necessary official and personal approvals from Capitol, Apple, and each of the Beatles including Yoko on John's behalf. At the time of the original release of The Beatles, The Bible and Bodega Bay he was informed that outside of their own Anthology that this was the only book approved by them. Once again, out of that same respect there have been no changes or updates-the content before you is exactly the same as the original book. These are the thoughts and events exactly as they were happening then...a unique insider's look at a time that will never exist again.

A DAILY TELEGRAPH BOOK OF THE YEAR AN IRISH TIMES BOOK OF THE YEAR 'Genuinely eye-popping.' Guardian 'Electrifying.' Kerrang 'Essential.' Classic Rock 'Required reading.' Irish Times The must-read music book of the year, now with a brand new chapter covering the death of Taylor Hawkins and his massive Wembley memorial concert. In Bodies, author Ian Winwood explores the music industry's many failures, from addiction and mental health issues to its ongoing exploitation of artists. Much more than a touchline reporter, Winwood also tells the story of his own mental health collapse, following the shocking death of his father, in which extinction-level behaviour was given perfect cover by a reckless industry. 'This is such a shrewd, funny, psychologically perceptive, frank, well-written, jawdropping book . Absolutely buy and read the hell out of this.' DAVID STUBBS 'Winwood makes a compelling argument and overturns some long-held notions about "rock and roll excess" by deftly tying together a vast amount of information . . . and liberally lacing it with dark, self-deprecating humour.' ALEXIS PETRIDIS

Contemporary music, like other arts, is dealing with the rise of "curators" laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

She's at the Controls gives a socio-historical examination of the roles of women studio professionals in the UK music industry. At the heart of the book are interviews conducted over six years with 30 female studio practitioners at different stages of their careers and working in different genres of popular music including reggae, hip hop and pop. The edited interviews are followed by an in-depth exploration of the often unseen and unacknowledged gender rules of music industry practice (both personal and technical) that underpin popular music etiquette. A range of supporting material from academic works to technical publications and popular music journalism is used to expand and critique the discourse. She's at the Controls will appeal to everyone interested in new developments in the music industry, as it recalibrates itself in response to current challenges to its traditional gender stereotypes.

'Hilarious, heart-wrenching and packed with British music history.' - COLDPLAY It's a life-and-near-death story. But whose life? And whose near-death? As a one-time NME journalist, former Xfm radio presenter, toilet-circuit promoter and the founder of enduring homespun British record label Fierce Panda, Simon Williams has been at the cutting, cutting, cutting edge of all things 'indie' for over thirty years. During his tenure as managing director of Fierce Panda (a role he holds to this day), Simon was responsible for tripping over bands such as Coldplay, Keane, Placebo and countless other acts of independent hue - some of whom have gone on to achieve earth-shattering musical superstardom, while others have merely baffled the crowd at the Bull & Gate in north London on a wet Wednesday evening. Unfiltered and unflinching, Pandamonium! is the story of Simon's time at the indie coalface, filled with insider anecdotes to entertain music enthusiasts everywhere - from the origins of a bootlegged Oasis release to Chris Martin's delight at reaching number ninety-two in the charts. But it is also the story of how Simon tried to bring a premature end to proceedings, documenting in blunt, matter-of-fact detail his longstanding mental-health struggles. Yet, despite his raw and often poignant honesty, Simon writes with the warmth, wit, self-deprecation and wide-eyed good fortune of someone who has stared into the abyss and survived, bounding down a few indie rabbit holes along the way.

How did Korea with a relatively small-scale music industry come to create a vibrant pop culture scene that would enthrall not only young Asian fans but also global audiences from diverse racial and generational backgrounds? From idol training to fan engagement, from studio recording to mastering choreographic sequences, what are the steps that go into the actual production and promotion of K-pop? And how can we account for K-pop's global presence within the rapidly changing media environment and consumerist culture in the new millennium? As an informed guide for finding answers to these questions, The Cambridge Companion to K-Pop probes the complexities of K-pop as both a music industry and a transnational cultural scene. It investigates the meteoric ascent of K-pop against the backdrop of increasing global connectivity wherein a distinctive model of production and consumption is closely associated with creativity and futurity.

From the early days of radio through the rise of television after World War II to the present, music has been used more and more to sell goods and establish brand identities. And since the 1920s, songs originally written for commercials have become popular songs, and songs written for a popular audience have become irrevocably associated with specific brands and products. Today, musicians move flexibly between the music and advertising worlds, while the line between commercial messages and popular music has become increasingly blurred. Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like The Clicquot Club Eskimos to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the 1980s and after. The Sounds of Capitalism is the first book to tell truly the history of music used in advertising in the United States and is an original contribution to this little-studied part of our cultural history.

From its 1939 'Nickel, Nickel' jingle to pathbreaking collaborations with Michael Jackson and Madonna to its pair of X Factor commercials in 2011 and 2012, Pepsi-Cola has played a leading role in drawing the American pop music industry into a synergetic relationship with advertising. This idea has been copied successfully by countless other brands over the years, and such commercial collaboration is commonplace today-but how did we get here? How and why have pop music aesthetics been co-opted to benefit corporate branding? What effect have Pepsi's music marketing practices in particular had on other brands, the advertising industry, and popular music itself? Soda Goes Pop investigates these and other vital questions around the evolving relationships between popular music and corporate advertising. Joanna K. Love joins musical analysis, historical research, and cultural theory to trace parallel shifts in these industries over eight decades. In addition to scholarly and industry resources, she draws on first-hand accounts, pop culture magazines, trade press journals, and other archival materials. Pepsi's longevity as an influential American brand, its legendary commercials, and its pioneering, relentless pursuit of alliances with American musical stars makes the brand a particularly instructive point of focus. Several of the company's most famous ad campaigns are prime examples of the practice of redaction, whereby marketers select, censor, and restructure musical texts to fit commercial contexts in ways that revise their aesthetic meanings and serve corporate aims. Ultimately, Love demonstrates how Pepsi's marketing has historically appropriated and altered images of pop icons and the meanings of hit songs, and how these commercials shaped relationships between the American music business, the advertising industry, and corporate brands. Soda Goes Pop is a rich resource for scholars and students of American studies, popular culture, advertising, broadcast media, and musicology. It is also an accessible and informative book for the general reader, as Love's musical and theoretical analyses are clearly presented for non-specialist audiences and readers with varying degrees of musical knowledge.

'One of the most rewarding pieces of hip-hop criticism ever written' Jeff Chang 'Brilliant' Giles Peterson 'Will Ashon's dazzling study gets to the heart of hip hop, pop culture and the history of contemporary America. Essential' Matt Thorne 'Each of these chambers contains wonders of history, destiny and mythology' Margo Jefferson Will Ashon tells, in 36 interlinked 'chambers', the story of Enter the Wu-Tang (36 Chambers) and how it changed the world. As unexpected and complex as the album itself, Chamber Music ranges from provocative essays to semi-comic skits, from deep scholarly analysis to satirical celebration, seeking to contextualise, reveal and honour this singularly composite work of art. From the FBI's war on drugs to the porn theatres of 42nd street, from the history of jazz to the future of politics, Chamber Music is an explosive and revelatory new way of writing about music and culture.

This book explores the effect of commercial and national institutions on the music of one of the foremost British composers of the twentieth century, Benjamin Britten. Radio, the recording industry, government subsidies for the arts, Covent Garden, the post-war establishment of music festivals, were all agents for dramatic changes in the art-music culture which Britten skilfully used to his advantage.

The Recording Industry presents a brief but comprehensive examination of how records are made, marketed, and sold. The book opens with an overview of popular music and its place in American society, along with descriptions of key players in the recording industry. In the book's second part, the making of a recording is traced from production through marketing and retail sales. Finally, in Part III, legal issues, including copyright and problems of piracy, are addressed.
The new edition takes into account the massive changes in the recording industry occurring today due to the revolution of music on the web. This new reality informs all parts of the second edition, from issues of production and distribution to legal issues.

Jim Cregan's career as a rock guitarist, songwriter and producer has spanned over fifty years, touring and recording albums with stars such as Elton John, Cat Stevens, Family, Willie Nelson, Steve Harley and Cockney Rebel, Joe Cocker, The Gypsy Kings, and Katie Melua. However, he is perhaps best known for his forty-year association with Rod Stewart, not only as his guitarist but also being best friends and godfathers to each other's children. In his autobiography Jim Cregan lifts the lid on his extraordinary life, recounting his experiences with music's biggest stars, from his first band at the age of 14 playing in youth clubs in Poole to performing in front of 350,000 people in Rio de Janeiro. In And on Guitar . . . Cregan holds nothing back: from his early life and anecdotes about his family to shenanigans on the road and extraordinary tales of hedonism, love and loss, his stories feature a Who's Who of music's biggest stars.

In The Entrepreneurial Artist: Lessons from Highly Successful Creatives, Aaron Dworkin offers an engaging, practical guide to achieving artistic fulfillment, both personally and professionally. Based on the accomplishments of Shakespeare, Mozart, and several contemporary creatives, these lessons will help you realize your goals—no matter your medium. Among those Dworkin personally interviewed for this book are Emmy-winning actor Jeff Daniels, Tony-award winning choreographer Bill T. Jones, Grammy award-winning musician Wynton Marsalis, and Pulitzer Prize winner Lin-Manuel Miranda, among others. The stories of these twelve remarkable individuals come alive with lessons of love, loss, despair, sacrifice, perseverance, and triumph. Some of the artist-entrepreneur takeaways explored in this book include: ·Build partnerships—with peers, patrons, and sponsors ·Embrace diversity ·Expand your focus ·Allow your work to mature Whether one is an aspiring student artist in search of practical tools to build a sustainable career, or a veteran seeking reinvention, The Entrepreneurial Artist offers insights—well-tested, unusual, or innovative—that are meaningful for every kind of creative.

When the music impresario Bryan Morrison died aged 66 in 2008, after two years in a coma following a polo accident, he left behind his unpublished memoir. As a music publisher, manager and agent, Morrison had represented the Pretty Things, Pink Floyd, T. Rex, The Jam, Wham! and many others. He was also the founder and owner of the Royal County of Berkshire Polo Club. In this candid and outspoken book, Morrison reveals the true stories behind why Syd Barrett of Pink Floyd once bit his finger to the bone, the Pretty Things were banned for life from New Zealand, and he became involved with the Kray Twins. He also tells how The Jam kissed goodbye to success in the USA, he received death threats when Robin Gibb left the Bee Gees, and signing a publishing deal with George Michael and Andrew Ridgeley as Wham! Spanning the golden age of British rock 'n' roll from the 60s to the 80s, this is the extraordinary story of a cigar-chomping, East End entrepreneur, with a passion for art and design, fashion, music and polo.

Songs from Sweden shows how Swedish songwriters and producers are the creative forces behind much of today's international pop music. As Ola Johansson reveals, the roots of this "music miracle" can be found in Sweden's culture, economy, and thriving music industry, concentrated in Stockholm. While Swedish writer-producers developed early global recognition for making commercially successful pop music, new Swedish writer-producers have continuously emerged during the last two decades. Global artists travel to Stockholm to negotiate, record, and co-write songs. At the same time, Swedish writer-producers are part of a global collaborative network that spans the world. In addition to concrete commercial accomplishments, the Swedish success is also a result of the acquisition of reputational capital gained through positive associations that the global music industry holds about Swedish music. Ultimately, pop songs from Sweden exhibit a form of cultural hybridity, drawing from both local and global cultural expressions.

The glory days of rock from the perspective of Canada’s original music magazine. The story of Music Express is told through the unique perspective of Keith Sharp, the magazine’s founder and editor. During its seventeen-year existence, Music Express rose from a small, Calgary-based regional magazine to an international publication. The interviews, anecdotes, and stories cover the golden era of Canadian music, with the rise to global status of such icons as Bryan Adams, Loverboy, Rush, Celine Dion, and Triumph. Their stories, as well as many more, are captured together with an array of classic rock photography that provides a unique time capsule.          From Sharp’s Calgary roots in 1976 to the heady heights of his publication’s growth, he details foreign adventures covering the likes of David Bowie in Australia, KISS in West Germany, and Iron Maiden in Poland, along with other high-profile interviews including U2, Paul McCartney, Iron Maiden, and Rod Stewart.

Detroit in the 1960s was a city with a pulse: people were marching in step with Martin Luther King, Jr., dancing in the street with Martha and the Vandellas, and facing off with city police. Through it all, Motown provided the beat. This book tells the story of Motown--as both musical style and entrepreneurial phenomenon--and of its intrinsic relationship to the politics and culture of Motor Town, USA. As Suzanne Smith traces the evolution of Motown from a small record company firmly rooted in Detroit's black community to an international music industry giant, she gives us a clear look at cultural politics at the grassroots level. Here we see Motown's music not as the mere soundtrack for its historical moment but as an active agent in the politics of the time. In this story, Motown Records had a distinct role to play in the city's black community as that community articulated and promoted its own social, cultural, and political agendas. Smith shows how these local agendas, which reflected the unique concerns of African Americans living in the urban North, both responded to and reconfigured the national civil rights campaign. Against a background of events on the national scene--featuring Martin Luther King, Jr., Langston Hughes, Nat King Cole, and Malcolm X--Dancing in the Street presents a vivid picture of the civil rights movement in Detroit, with Motown at its heart. This is a lively and vital history. It's peopled with a host of major and minor figures in black politics, culture, and the arts, and full of the passions of a momentous era. It offers a critical new perspective on the role of popular culture in the process of political change.

The Biggest Edition - Revised and Expanded with All New Chapters A captivating and inspiring guide to building an untouchable empire from mud to marble, no matter what obstacles stand in the way Rick Ross is a hip-hop icon and a towering figure in the business world, but his path to success was not always easy. Despite adversity and setbacks, Ross held tight to his vision and never settled for anything less than greatness. Now, for the first time, he shares his secrets to success, offering his own life as a road map to readers looking to build their own empire. Along the way he reveals: How to turn your ambition into action Tips for managing and investing your money Inside stories from his business and music ventures Why failure is central to success Secrets to handling stressful situations How to build the perfect team As Ross explains, "It doesn't matter what's going on. Even the most dire situation is just another opportunity to boss up."Intimate, insightful and brimming with no-nonsense advice, The Perfect Time to Boss Up is the ideal book for hustlers everywhere.

'There's no mistaking the writing of Sylvia Patterson' Sunday Times 'One of the finest writers in the world' David Quantick How does the big stuff in life truly change us? In late 2019, Sylvia Patterson was a celebrated pop journalist, still merrily writing about the musical greats. But with the diagnosis of a life-threatening disease, a global pandemic and the collapse of her industry, life was about to take a drastic turn. It was a misadventure that would teach her many things. The power of friendship, the shock of mortality and what happens when love is tested. How a walk in the park, a spontaneous dance and a TV hero can save your life. How your perspective can shift on everything, from work, family and music, to what truly makes you happy. And what really happens when your body, never mind your kitchen, falls apart. The follow-up to the Costa-shortlisted I'm Not with the Band, this is Sylvia's unflinching, poignant and gallows-funny odyssey through the mid-life trials we all face, as she tries to answer the big question: would it all change her, or would she stay that same old girl?

Description The music industry, as with most other media forms, is in the middle of a period of enormous transformation. Digital technologies have empowered producers and consumers of music - traditional ways of making and distributing music are under threat as musicians and their audiences embrace new opportunities, many of which bypass the incumbent middlemen. Whilst it is clear that the music industry is thriving, the traditional recording industry, dominated by a handful of multinational corporations is struggling to stay relevant. The changes are so dramatic that the term "Music 2.0" has become commonly used to delineate old and new business models and approaches. But the demise of the traditional music industry is overstating things - the reality is that (whilst their profits may be diminishing) they still dominate a multi-billion dollar marketplace and exercise unprecedented control over the star-making process. And, of course, they have the resources to be able to reinvent themselves. The actual future of music is a complex and contested one. This book aims to unpack that complexity, map the changes and explain the causes and motivations surrounding an industry undergoing change. It explores the world of popular music from three distinct perspectives. Firstly, it examines the new opportunities available to consumers of music - interrogating how the lines between production and consumption are blurring, creating fans who do much more than just listen to music. Secondly, it draws on interviews with a diverse range of musicians explaining their place in the brave new world and trying to articulate their newly defined roles. Finally, it examines the industry itself, and unpack the responses to current challenges from new and old players alike.

Video game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analysed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars.