Music and Tourism is the first book to comprehensively examine the links between travel and music. It combines contemporary and historical analysis of the economic and social impact of music tourism, with discussions of the cultural politics of authenticity and identity. Music tourism evokes nostalgia and meaning, and celebrates both heritage and hedonism. It is a product of commercialisation that can create community, but that also often demands artistic compromise. Diverse case studies, from the USA and UK to Australia, Jamaica and Vanuatu, illustrate the global extent of music tourism, its contradictions and pleasures.

The online music revolution has brought the weakness of the law to the forefront. Anonymous theft, with little risk of criminal prosecution and practically no societal censure, tempts those who would never dream of shoplifting a CD from a music store. The RIAA has sued middle school students, high school and college students as well as grandparents, some of whom honestly believed they were doing nothing wrong. Even professors of the law argue over what behavior is permissible and what is not. This ambiguity holds back the advancement of legitimate uses of technology while doing nothing to stop those who would steal regardless of the consequences. A Fogging of Basic Values critically examines what has occurred within music and other societal venues where behavioral boundaries have blurred.

Visual Music Instrument Patents Volume One is a collection of primary source documents for visual music instruments, often called "color organs," gleaned from the United States Patent Office. Information about these devices is often only available through the inventor's patent applications, but these applications are not currently available except through the time-consuming process of searching Patent Office databases. This volume is an informational resource for those instruments that are already known and studied (Bishop, Rimington, Wilfred, Fischinger), and includes a number of patents for other instruments that have not been examined as thoroughly (Munsell, Hallock-Greenwalt, others). Volume One also includes a few patents that are related to visual music instruments such as systems of notation for writing visual music and devices for determining "color harmony" through a relationship to musical form.

Music history -- Blues -- R&B

Elmore James, Sonny Boy Williamson, Little Milton, and James Waller-all of these musical powerhouses furthered their recording careers at a little label on once-thriving Farish Street, the historic black district of Jackson, Mississippi.

These blues, gospel, and R&B all-stars are featured in "Trumpet Records: Diamonds on Farish Street," the detailed story of this thriving recording label of the mid-1950s.

What caused it to spring to life in Jackson? It began in 1949, when a white woman named Lillian McMurry and her husband purchased a hardware store on Farish Street, then a location on the boundary between the city's white and black business and entertainment districts. While taking inventory of the original stock and renovating the building, she discovered a stack of unsold records, including Wynonie Harris's recording of "All She Wants to Do Is Rock." Curious, Mrs. McMurry played it on the store's record player and became so inspired that she decided to record more music like it. Thus was born Trumpet Records.

The life of the studio was brief, and this book, in careful detail, covers its short history (1951-1956) and includes accounts of recording sessions with its roster of gospel groups, blues musicians, and R&B singers, almost all of them African American. The book also documents McMurry's attempts to fuse country and African American popular music into what would become rock 'n' roll.

From interviews, archival recordings, company documents, reviews, photographs, and the assistance of the founder, Marc W. Ryan has compiled the fascinating history of this short-lived but influential company.

This new edition of a work recognized in 1993 by the Association for Recorded Sound Collections features an updated discography and bibliography, extensive new documentation, and additional insights into the operations of Trumpet Records.

Marc W. Ryan is an independent music scholar living in North San Juan, California. His work has been published in "Rolling Stone," "Discoveries," and "Blues and Rhythm."

Digital compression technologies such as MP3 and Napster are having an explosive impact on the way music is distributed. Every day, hundreds of thousands of music files are searched for, shared, recorded, and listened to by computer and Web users-all free of charge. It's a boon for consumers and a disaster for record companies, and the end result can be nothing less than a cultural and economic transformation. Sonic Boom is a fascinating narrative of the controversy that's sending shock waves through the music industry. It's the story of musicians such as the Beastie Boys and Public Enemy, who are reaching fans without record company support; entrepreneurs who are distributing MP3 files without licensing agreements; and record-industry executives who are fighting for their business at every turn. It reveals how, even as the star-maker machinery of record companies remains in the hands of the old guard, innovators are finding ways to outsmart it. Peopled with a sensational cast of characters that includes rock stars, music moguls, teenagers, and Internet entrepreneurs, Sonic Boom exposes the recording industry's plight as a fascinating microcosm of the vast cultural, ethical, and legal issues that all industries face in the information age.

How do you make a song into a global smash hit that is guaranteed to make millions? Read The Song Machine and find out! From Tin Pan Alley and Motown to Rihanna and Taylor Swift, manufactured music has existed since the record industry began. But who are the hit-manufacturers that can create a tune that is so catchy, so wildly addictive, that it sticks in the minds of millions of listeners? In The Song Machine, John Seabrook dissects the workings of this machine, travelling the world to reveal its hidden formulas, and interview its geniuses - 'the hitmakers' - at the centre of it all. Hilarious and jaw-droppingly shocking, this book will change how you think and feel about music, as well as how you listen to it. 'Revelatory, funny, and full of almost unbelievable details', Eric Schlosser, author of Fast Food Nation 'As addictive as its subject' Sunday Times

Def Jam was one of the most prolific record labels of the 80s, whose artists included the Beastie Boys, Public Enemy, LL Cool J and Run DMC. This is Def Jam's story, but it's also the story of creator Russell Simmons, who was responsible for turning a ghetto craze into a worldwide phenomenon. This book documents some of the finest music recorded in the 80s and 90s.

The nuts and bolts of how the business of music is conducted is explained here. The author discusses such topics as revenue streams, copyrights and recording sessions. (Music)

A comprehensive reference guide to the history of recording, this book combines the technical history of the recording process and the industry that grew up to support it, with the history of the musical, vocal and spoken repertoire that developed in parallel with recording. Starting with the simultaneous inventions of Charles Cros and Thomas Edison, the book charts the story of the phonograph from the earliest recordings by figures such as Brahms and Tennyson to the development of the modern gramophone. The complex patent and copyright history of early inventions is set out, as is the commercial climate in which the first record companies emerged. The late-19th-century musical legacy and its performance practice implications are discussed, leading to the pioneering work of, for example, Henry Wood and Thomas Beecham. Popular music history is also examined, on an international basis, with Argentine and Uruguayan tango records discussed alongside American ragtime and jazz and European operetta. The book also analyzes the recording boom before the Depression, the pre-war reconstruction of the industry, the emergence of recording entrepreneurs, disc jockeys and crooners, the emergence of rebetika in Europe, the Caribbean record industry, and the first libraries. In the post-war period, the book covers the breathtaking speed of technical development from EP to LP to cassette to CD, and the enormous explosion of popular music. The final chapters examine new technical innovations such as DAT and minidisc, and record-derived music techniques such as scratch, karaoke, dup and rap.

Little Labels -- Big Sound celebrates 10 legendary record labels, their founders and the artists they developed, people who created original and enduring music on the tide of social change. From the 1920s through the 1960s, scores of small, independent record companies nurtured distinctly American music: jazz, blues, gospel, country, rhythm and blues, and rock 'n' roll. These companies, run on shoestring budgets, were on the fringe of mainstream culture. Louis Armstrong, Hank Williams, James Brown, Roy Orbison, and other musicians brought regional American styles to a world audience and won enduring fame for themselves. But often forgotten are the colorful owners of small record labels who first recorded these musicians and helped to popularize their sound before the dominant, more bureaucratic competitors knew what had happened.

Rick Kennedy and Randy McNutt bring alive the glory days of the independent labels and their colorful founders, many of whom were interviewed for this book. Sometimes these men were visionaries. Ross Russell, a record-store owner in Los Angeles in the mid-1940s, risked his last dollar to create Dial Records because he was convinced that an obscure jazz saxophonist named Charlie Parker was creating a music revolution with his bebop jazz. Sam Phillips in Memphis had recorded white country and black R&B singers in the early 1950s, so he knew exactly what he was looking for when a shy, teenaged Elvis Presley walked into his storefront studio in 1954 and asked to make a record.

Other owners had little appreciation for the music but were street-smart entrepreneurs. The white-owned "race" labels of the 1920s, for example, recognized a black consumer market thatthe recording business had previously ignored. Operating out of such cities as Houston, Memphis, Cincinnati, and New Orleans, these savvy business people promoted regional sounds that were to reverberate around the world.

But influencing the development of music wasn't what these record-label owners had in mind; they were just trying to earn a living. Today, when most of the independent record labels have gone under or have been gobbled up by big conglomerates, the music they produced on primitive equipment remains fresh -- and bigger than life.

Little Labels -- Big Sound tells with verve and affection the story of the people and the small homegrown companies who gave America its beat.

"CopyCats" is a creative work that presents the author's detailed survey of a wide array of performers who specialize in celebrity impersonations.

Arranged in an easy-to-follow style, her text reveals many enlightening facts about this aspect of show business.

Her interviews with the performers examine how they came to emulate a particular star, how they research their roles and how they put together a whole show.

In discussing the lives of the performers themselves, including a diverse assortment of photographs, and proffering an accessible glimpse into the lives of those talented individuals, her register offers a rich overview of a distinctive subject.

The author's intricate design, careful attention to detail and expansive scope contribute to the intriguing nature of this chronicle.

In "Star Tracks," Larry Wacholtz has indeed written the next generation of indispensable music industry literature. The acknowledged bible, David Baskerville's "Handbook . . ." finally has a fitting protege. Wacholtz has used the cream and meat from works by the music business elite (Passman, Krasilovsky, the Brabec twins and Baskerville himself), contributed a ton of his own research data with practical quotes by top professionals, and presented it in a lively easy-reading style. The book is comprehensive, with a wealth of charts and figures, but manages never to be dull. --Alan Remington, Professor of Music, Orange Coast College

In Bootleg: The Secret History of the Other Recording Industry, Clinton Heylin examines the entire modern history of this underground culture: from what defines a bootleg and its complex and protean legal status, to a full history of bootlegs' production and distribution, to what's contained on some of the most notorious bootlegs and how to find them. Along with many illustrations of the creative packages, this is the whole story of the $250 million industry that sustains itself on the great figures of rock music and their biggest admirers.

From Simon & Schuster, Breaking into the Music Business is Alan Siegel's inside advice from a top entertainment lawyer on how to find the right manager, make a demo that sells you, and more. Surveys the history of the music industry, and uses interviews to describe the experience of songwriters, recording artists, and managers, and how they got their start.

The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices - organization, recording, desktop production, post-production and distribution - this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text.

Hit Men is the shocking, highly controversial expose of the venality, greed, and corruption of many of the assorted kingpins and hustlers who rule over the music industry. "A sobering, blunt, and unusually well-observed depiction of the sometimes sordid inner workings of the music business."--Billboard. 4 pages of photographs.

What links Taylor Swift to a factory worker? Kanye West to a German engineer? Beyonce to a boardroom mogul? They've all changed the face of the music business, in the most unexpected ways. How Music Got Free is the incredible true story of how online piracy and the MP3 revolutionised the way our world works, one track at a time. 'This brilliant book tells you exactly how the perfect storm that forever changed the way we consume music took shape. Like many great works of investigative journalism it makes it clear that this is one of those stories you think you know. Until you realise you don't' John Niven, The Spectator 'Reads like an underworld crime story... concise and very funny... The most remarkable thing about Witt's book is that virtually none of the names is familiar... Witt finds unlikely heroes in unlikely places' New Statesman

Create, Produce, Consume explores the cycle of musical experience for musicians, professionals, and budding entrepreneurs looking to break into the music industry. Building on the concepts of his previous book, Making Money, Making Music, David Bruenger provides readers with a basic framework for understanding the relationships between the artist and audience and the producer consumer by examining the methods underlying creation-production-reception and creation-consumption-compensation. Each chapter offers a different perspective on the processes and structures that lead listeners to discover, experience, and interact with music and musical artists. Through case studies ranging from Taylor Swift's refusal to allow her music to be streamed on Spotify to the rise of artists supported through sites like Patreon, Bruenger offers highly relevant real-world examples of industry practices that shape our encounters with music. Create, Produce, Consume is a critical tool for giving readers the agile knowledge necessary to adapt to a rapidly changing music industry. Graphs, tables, lists for additional reading, and questions for further discussion illustrate key concepts. Online resources for instructors and students will include sample syllabi, lists for expanded reading, and more.

Making Money, Making Music offers tools to encourage creative and adaptive entrepreneurship in the music business. Written for the classroom and the workplace, it introduces readers to core principles and processes and shows how to apply them adaptively to new contexts, facilitating a deeper understanding of how and why things work in the music business. By applying essential concepts to a variety of real-life situations, readers improve their capacity to critically analyze and solve problems and to predict where music and money will converge in a rapidly evolving culture and marketplace.

Irish Independent Music Book of the Year Guardian Book of the Week After 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 people - the performers, entrepreneurs, songwriters, producers and fans - who made it all happen. From the venues and recording studios that occupied disused cinemas, churches and abandoned factories to the terraced houses and back rooms of pubs where bands first rehearsed, the terrain of British pop can be retraced with a map in hand and a head filled with music and its many myths.

In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.