Are you interested in learning how to cultivate sustainable success in the popular music industry whilst prioritising your health? If so, this book is for you. Inside you'll find research-informed advice and information that aims to help musicians, as well as those that work with them, navigate their way through what can be a challenging and demanding industry. This book covers the mental and physical health problems research suggests musicians might come up against and offers lots of tools and techniques to help aid prevention. You'll also find information about the structure of the industry, money management, and how to improve your skills as a performer, creator, and CEO of your career. Expect original interviews with leading researchers, health experts, business execs and a host of artists including Laura Mvula, Will Young, Imogen Heap, Wayne Hector, MNEK, Nina Nesbitt, Lauren Aquilina, Ella Eyre, Jonathan Higgs, Lady Leshurr, and many others. You'll also find quotes and advice from a long list of established artists like Ed Sheeran, Lily Allen, Amanda Palmer, Matty Healy, Gary Numan, Billie Eilish, James Blake, Taylor Swift, Justin Bieber, George Ezra, Loyle Carner, Alicia Keys, Dave, and Mabel. Widely supported by some of the biggest companies in the music business, Sound Advice is the ultimate industry-backed guide for both seasoned professionals and those just starting their career. It has been produced with the generous support of Live Nation, Universal Music UK, Sony Music UK, Warner Music UK, IFPI, Spotify, Hipgnosis Songs, Vevo, PRS for Music, Polydor Records, and PPL.

Starting with 1964's Goldfinger, every James Bond film has followed the same ritual, and so has its audience: after an exciting action sequence the screen goes black and the viewer spends three long minutes absorbing abstract opening credits and a song that sounds like it wants to return to 1964. In The James Bond SongsR authors Adrian Daub and Charles Kronengold use the genre to trace not only a changing cultural landscape, but also evolving conceptions of what a pop song is. They argue that the story of the Bond song is the story of the pop song more generally, and perhaps even the story of its end. Each chapter discusses a particular segment of the Bond canon and contextualizes it in its eras music and culture. But the book also asks how Bond and his music reflected and influenced our feelings about such topics as masculinity, race, money, and aging. Through these individual pieces the book presents the Bond song as the perfect anthem of late capitalism. The Bond songs want to talk about the fulfillment that comes from fast cars, shaken Martinis and mindless sex, but their unstable speakers, subjects, and addressees actually undercut the logic of the lifestyle James Bond is sworn to defend. The book is an invitation to think critically about pop music, about genre, and about the political aspects of popular culture in the twentieth century and beyond.

Music Business and the Experience Economy is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the contributions deal with a wide-range of topics concerning the production, distribution and consumption of music in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of P2P file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for tourism and for branding, and last but not least the developments of higher music education, are discussed from different perspectives.

Dié boek is rock ’n roll in die binnewêreld van die legendariese liedjieboer, Anton Goosen. Hanlie Retief vertel Goosen se buitengewone lewensverhaal – van sy grootwordjare in die Vrystaat, die Musiek-en-Liriek-era, sensuur, hoogtepunte en teleurstellings . . . tot waar die vader van Afrikaanse Rock 'n terugblik gee op sy merkwaardige lewe.

Music videos play a critical role in our age of ubiquitous streaming digital media. They project the personas and visions of musical artists; they stand at the cutting edge of developments in popular culture; and they fuse and revise multiple frames of reference, from dance to high fashion to cult movies and television shows to Internet memes. Above all, music videos are laboratories for experimenting with new forms of audiovisual expression. The Rhythm Image explores all these dimensions. The book analyzes, in depth, recent music videos for artists ranging from pop superstar The Weeknd to independent women artists like FKA twigs and Dawn Richard. The music videos discussed in this book all treat the traditional themes of popular music: sex and romance, money and fame, and the lived experiences of race and gender. But they twist these themes in strange and unexpected ways, in order to reflect our entanglement with a digital world of social media, data gathering, and 24/7 demands upon our attention.

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.

We're experiencing a time when digital technologies and advances in artificial intelligence, robotics, and big data are redefining what it means to be human. How do these advancements affect contemporary media and music? This collection traces how media, with a focus on sound and image, engages with these new technologies. It bridges the gap between science and the humanities by pairing humanists' close readings of contemporary media with scientists' discussions of the science and math that inform them. This text includes contributions by established and emerging scholars performing across-the-aisle research on new technologies, exploring topics such as facial and gait recognition; EEG and audiovisual materials; surveillance; and sound and images in relation to questions of sexual identity, race, ethnicity, disability, and class and includes examples from a range of films and TV shows including Blade Runner, Black Mirror, Mr. Robot, Morgan, Ex Machina, and Westworld. Through a variety of critical, theoretical, proprioceptive, and speculative lenses, the collection facilitates interdisciplinary thinking and collaboration and provides readers with ways of responding to these new technologies.

Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.

Becoming Elektra tells the incredible true story of the pioneering Elektra Records label and its far-sighted founder, Jac Holzman, who built a small folk imprint into a home for some of the most groundbreaking, important, and enduring music of the rock era. Placing the Elektra label in a broader context, the book presents a gripping narrative of musical and cultural history that reads like an inventory of all that is exciting and innovative about the 60s and 70s: The Doors, Love s Forever Changes, Tim Buckley s Goodbye and Hello, The Stooges, The MC5 s Kick Out The Jams, Queen and Queen II, The Incredible String Band, Carly Simon s No Secrets, and many, many more. First published in 2010, Becoming Elektra was praised as 'eye-opening (Q) and a 'dazzling narrative (The Sun), and for 'perfectly encapsulating the enigmatic, unpredictable spirit of the label (Record Collector). This fully revised and expanded edition includes a brand new foreword by John Densmore of The Doors and draws on extensive new interviews with a wide range of Elektra alumni, including Tom Paley, Judy Henske, Johnny Echols, Jean Ritchie, and Bernie Krause, as well as further conversations with Holzman himself. It also adds two new chapters: a look at Elektra in Britain in the 60s and a reappraisal of the label s 70s output.

Why don't Guitar Hero players just pick up real guitars? What happens when millions of people play the role of a young black gang member in Grand Theft Auto: San Andreas? How are YouTube-based music lessons changing the nature of amateur musicianship? This book is about play, performance, and participatory culture in the digital age. Miller shows how video games and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by "playing along" with popular culture. Playing Along reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar's ears; how a Guitar Hero player channels the experience of a live rock performer; and how a beginning guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through a series of engaging ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.

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.

The music industry is one of the most dynamic and fascinating business sectors. Its business model has had to evolve and adapt to continually changing technologies that impact at every level from distribution to artist management. Its latest challenge has been the closure of live music venues during the Covid-19 pandemic. The second edition of this much used introduction to the economic workings of the music business has been updated to include analysis of the impact of the pandemic as well as new trends in the industry, such as the increasing dominance of tech companies and big data and the growing importance of collective management organizations as market players, which has impacted on new business contracts. At a time when live performance outstrips music sales as the primary source of income for today's musicians, this new edition also examines how different stakeholder positions have shifted. The book remains a rigorous presentation of the industry's business model, the core sectors of publishing, recording and live music, and the complex myriad of licensing and copyright arrangements that underpin the industry. The revenue streams of recording companies are analysed alongside the income stream of artists to show how changing formats and distribution platforms impact both industry profit margins and artists' earnings.

Long associated with the pejorative cliches of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami's growing Colombian community, Maria Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its most renowned rock "en espanol," pop, and "vallenato" stars.

Musical ImagiNation provides an overview of the ongoing Colombian political and economic crisis and the dynamics of Colombian immigration to metropolitan Miami. More notably, placed in this context, the book discusses the creative work and media personas of talented Colombian artists Shakira, Andrea Echeverri of Aterciopelados, and Carlos Vives. In her examination of the transnational figures and music that illuminate the recent shifts in the meanings attached to Colombian identity both in the United States and Latin America, Cepeda argues that music is a powerful arbitrator of memory and transnational identity.

Picking up where Under the Big Black Sun left off, More Fun in the New World explores the years 1982 to 1987, covering the dizzying pinnacle of L.A.'s punk rock movement as its stars took to the national -- and often international -- stage. Detailing the eventual splintering of punk into various sub-genres, the second volume of John Doe and Tom DeSavia's west coast punk history portrays the rich cultural diversity of the movement and its characters, the legacy of the scene, how it affected other art forms, and ultimately influenced mainstream pop culture. The book also pays tribute to many of the fallen soldiers of punk rock, the pioneers who left the world much too early but whose influence hasn't faded. As with Under the Big Black Sun, the book features stories of triumph, failure, stardom, addiction, recovery, and loss as told by the people who were influential in the scene, with a cohesive narrative from authors Doe and DeSavia. Along with many returning voices, More Fun in the New World weaves in the perspectives of musicians Henry Rollins, Fishbone, Billy Zoom, Mike Ness, Jane Weidlin, Keith Morris, Dave Alvin, Louis Perez, Charlotte Caffey, Peter Case, Chip Kinman, Maria McKee, and Jack Grisham, among others. And renowned artist/illustrator Shepard Fairey, filmmaker Allison Anders, actor Tim Robbins, and pro-skater Tony Hawk each contribute chapters on punk's indelible influence on the artistic spirit. In addition to stories of success, the book also offers a cautionary tale of an art movement that directly inspired commercially diverse acts such as Green Day, Rancid, Red Hot Chili Peppers, Wilco, and Neko Case. Readers will find themselves rooting for the purists of punk juxtaposed with the MTV-dominating rock superstars of the time who flaunted a "born to do this, it couldn't be easier" attitude that continued to fuel the flames of new music. More Fun in the New World follows the progression of the first decade of L.A. punk, its conclusion, and its cultural rebirth.

Soon to be an Apple TV+ documentary series One of Billboard's 100 Greatest Music Books of All Time Finalist for the Los Angeles Times Book Prize, the J. Anthony Lukas Book Prize, and the Financial Times and McKinsey Business Book of the Year A New York Times Editors' Choice ONE OF THE YEAR'S BEST BOOKS: The Washington Post * The Financial Times * Slate * The Atlantic * Time * Forbes "[How Music Got Free] has the clear writing and brisk reportorial acumen of a Michael Lewis book."-Dwight Garner, The New York Times What happens when an entire generation commits the same crime? How Music Got Free is a riveting story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. It's about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online-when, suddenly, all the music ever recorded was available for free. In the page-turning tradition of writers like Michael Lewis and Lawrence Wright, Witt's deeply reported first book introduces the unforgettable characters-inventors, executives, factory workers, and smugglers-who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives. An irresistible never-before-told story of greed, cunning, genius, and deceit, How Music Got Free isn't just a story of the music industry-it's a must-read history of the Internet itself.

London 1968: The Unstable Boys are the name on every music insider's lips and tipped to follow in the footsteps of the Beatles and the Rolling Stones. This is their chance to hit the bigtime. They don't know they're about to be obliterated by a series of tragedies and a chaotic breakup that puts paid to the band's starry-eyed dreams of stratospheric success. One day you're the dog's bollocks; the next day you're a nobody - fame is a fickle friend. London 2016: Bestselling crime writer Michael Martindale has reached breaking point. Estranged from his wife and children following the very public fallout of his disastrous affair, he is alone, with only his self-pity to keep him warm at night. Until he makes the mistake of publicly declaring his admiration for his teenage musical obsession, the Unstable Boys. When the band's twisted and feral frontman, the Boy, turns up on his doorstep, Martindale quickly learns that sometimes you should be careful what you wish for. Razor-sharp and laced with a caustic wit, The Unstable Boys is a dark comic caper with an unmistakeable musicality from legendary music journalist Nick Kent.

All You Need To Know About The Music Business - The new edition of 'the industry bible' (Los Angeles Times) by Donald S. Passman No one understands the music business and the changes it has undergone in recent years better than LA lawyer Donald Passman. For 20 years his book has offered detailed advice to artists and executives, novices and experts alike on how to thrive in these volatile times. This completely revised edition sets out recent developments in record deals, copyright, new technologies and film music. It also offers unique advice on how to navigate your way through the ins and outs of songwriting, music publishing, merchandising and performing. Whether you're a newcomer or an established professional, All You Need to Know about the Music Business is an essential companion. It will also be loved by readers of The Music Business and How Music Works by David Byrne. 'The definitive text on the business of music written by the man the most talented artists in the world look to for advice' Ron Rubin, co-head of Columbia Records 'Should be required reading for anyone planning or enduring a career in the biz' Rolling Stone Donald Passman is a graduate of the University of Texas and the Harvard Law School. For many years he has practised law with the LA firm of Gang, Tyre, Ramer and Brown, where he specializes in the music and film industries. He represents many famous music clients. He lives in LA with his wife and four children, and plays guitar and five-string banjo.

How is the classical music industry responding to the challenges of #MeToo, Black Lives Matter, and other social justice movements? Is increasing attention to equity and diversity in the classical music profession over recent years leading to systemic change? In this book, scholars, activists and musicians from countries across Europe and North America analyze inequalities in the classical music profession and introduce strategies for making change. Exploring racism, class and gender inequalities, disability representation, "authenticity", changing the canon, and neoliberalism, the book brings together analyses from academics alongside contributions from musicians and industry leaders working in the classical music industry who reflect on issues of diversity and share insights and best practices. Themes of the book include institutional legacies and possibilities for change; racial, classed and gendered inequalities and marginalised voices; and strategies for activism, whether reflective practices, informal networks, or larger organisations leading change. The book also discusses questions such as whether musical change is necessary for social change in classical music, and how activists can acknowledge structural inequalities whilst holding on to the possibility of change. Opening up the interdisciplinary field of "classical music studies," this book lays the groundwork for empirically-founded, theoretically-informed, and practice-based approaches to tackling inequalities in the classical music profession. As such, it will be a significant point of reference for musicians, students, classical music administrators, policy-makers, teachers, and academics — and anyone else who wants to make classical music more inclusive.

This book explores the transmission of copyrighted sound recordings to the public by over-the-air AM/FM radio stations which is an activity that implicates the right of public performance under the Copyright Act. However, under current law, terrestrial radio broadcasters who play copyrighted music need only compensate songwriters for the performance of their musical compositions and not the holders of the copyright in the sound recording. Sound recording copyright holders assert that there is no justifiable reason for the copyright law to treat sound recordings differently from other categories of performable copyrighted works. They maintain that recording artists deserve to be fairly compensated by broadcast radio for public performance of their works just as songwriters and music publishers are currently being paid for such activity.

In the 1960s and 1970s, becoming a rock musician was fundamentally different than playing other kinds of music. It was a learned rather than a taught skill. In On Becoming a Rock Musician, sociologist H. Stith Bennett observes what makes someone a rock musician and what persuades others to take him seriously in this role. The book explores how bands form; the backstage and onstage reality of playing in a band; how bands promote themselves and interact with audiences and music professionals like DJs; and the role of performance.