'This is a truly refreshing take on the phenomenon of global cities. For far too long we've been seduced by the flows and networks that reproduce global cities without considering the actors, individuals, organisations, institutions, that make and shape the global-local dynamics of such spaces in global society. Throughout this collection of essays, there is a rich empirical narrative which reminds scholars of global city and urban studies that without the agency of actors, whether that be economic, political, cultural or social, any notion of flow and networks would simply wither on the vine. In short, this is a new benchmark on the geography of the global city in contemporary globalisation.' -Jonathan V. Beaverstock, University of Bristol, UK Global City Makers provides an in-depth account of the role of powerful economic actors in making and un-making global cities. Engaging critically and constructively with global urban studies from a relational economic geography perspective, the book outlines a renewed agenda for global cities research. This book conceptualizes global cities as places from where the world economy is managed and controlled, and discusses the significance of economic actors and their practices in the formation of the world city network. Focusing on financial services, management consultancy, real estate, commodity trading and maritime industries, the detailed case studies are located across the globe to incorporate major global cities such as London, New York and Tokyo as well as globalizing cities including Mexico City, Hamburg and Mumbai. This ground-breaking book will appeal to a broad audience including scholars in urban studies, economic geography and international management as well as urban policy-makers and practitioners in globalizing firms. Contributors include: D. Bassens, N. Beerepoot, S. Hall, M. Hesse, M. Hoyler, W. Jacobs, J. Kleibert, B. Lambregts, C. Lizieri, D. Mekic, C. Parnreiter, S. Sassen, D. Scofield, M. van Meeteren, A. Watson, S. Yamamura

It feels like history is repeating itself when out-of-favour detective Will Harlan gets summoned to a murder scene in the village of Brackenbrae after a young girl is found hanging in the woods. Five years ago Harlan headed up the investigation of an identical killing in the same woods; a mishandled investigation that effectively destroyed his credibility as a detective. The new case immediately takes a bizarre twist when the body is identified as the same girl found hanging in the woods five years ago. The following day a local man commits suicide and the police find more dead girls hidden in his basement. It seems an open and shut case. Until the killing spree begins. Harlan finds himself drawn into a dark world where murder is a form of self-expression and human life treated as one more commodity to be used and discarded. The only clue that links everything is a large oil painting of `Sagittarius A' - a massive black hole at the centre of the galaxy orbited by thirteen stars, the canvas daubed in blood with the words - Heart Swarm.

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialities of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.

This book provides a critical academic evaluation of the 'music city' as a form of urban cultural policy that has been keenly adopted in policy circles across the globe, but which as yet has only been subject to limited empirical and conceptual interrogation. With a particular focus on heritage, planning, tourism and regulatory measures, this book explores how local geographical, social and economic contexts and particularities shape the nature of music city policies (or lack thereof) in particular cities. The book broadens academic interrogation of music cities to include cities as diverse as San Francisco, Liverpool, Chennai, Havana, San Juan, Birmingham and Southampton. Contributors include both academic and professional practitioners and, consequently, this book represents one of the most diverse attempts yet to critically engage with music cities as a global cultural policy concept.

In recent years, there has been high level of interest amongst policy-makers in the 'creative city' concept, due to the anticipation of economic and social benefits from a growing cultural and creative economy. However, a lack of understanding of local social and economic contexts, as well as the complexities and challenges of cultural production, has resulted in formulaic, ineffective misguided policies. This book is concerned, in various ways, with developing an understanding of the complex dimensions of cultural production, and with tackling the often weak and implied links between research, policy and urban planning. In particular, contributors are concerned with agents, protagonists and practices that appear to be somehow invisible to, hidden from, or indeed ignored in much contemporary creative cities policy. Drawing on case studies from the UK and the Netherlands, chapters consider creative industries and policy across a range of scales, from provincial cities and regional economies, to the global cities of London and Amsterdam. This book was originally published as a special issue of European Planning Studies.

In recent years, there has been high level of interest amongst policy-makers in the 'creative city' concept, due to the anticipation of economic and social benefits from a growing cultural and creative economy. However, a lack of understanding of local social and economic contexts, as well as the complexities and challenges of cultural production, has resulted in formulaic, ineffective misguided policies. This book is concerned, in various ways, with developing an understanding of the complex dimensions of cultural production, and with tackling the often weak and implied links between research, policy and urban planning. In particular, contributors are concerned with agents, protagonists and practices that appear to be somehow invisible to, hidden from, or indeed ignored in much contemporary creative cities policy. Drawing on case studies from the UK and the Netherlands, chapters consider creative industries and policy across a range of scales, from provincial cities and regional economies, to the global cities of London and Amsterdam. This book was originally published as a special issue of European Planning Studies.

This book provides a critical academic evaluation of the 'music city' as a form of urban cultural policy that has been keenly adopted in policy circles across the globe, but which as yet has only been subject to limited empirical and conceptual interrogation. With a particular focus on heritage, planning, tourism and regulatory measures, this book explores how local geographical, social and economic contexts and particularities shape the nature of music city policies (or lack thereof) in particular cities. The book broadens academic interrogation of music cities to include cities as diverse as San Francisco, Liverpool, Chennai, Havana, San Juan, Birmingham and Southampton. Contributors include both academic and professional practitioners and, consequently, this book represents one of the most diverse attempts yet to critically engage with music cities as a global cultural policy concept.

Special interest tourism is growing rapidly due to a discerning and heterogeneous travel market and the demand for more focused activity or interest-based tourism experiences. This book approaches the topic from the perspective of both supply and demand, and addresses the complexities now inherent in this area of tourism. It presents a contextualised overview of contemporary academic research, concepts, principles and industry-based practice insights, and also considers the future of special interest tourism in light of the emergence of ethical consumerism. With a clear, user-friendly structure, the book: -Links theoretical frameworks to clear practical applications. -Reviews key emerging issues for tourism relating to families and faith, the performing arts, active and passive pursuits, therapeutic leisure and travelling. -Includes contributions and case studies from international academics and practitioners to give a truly global overview. Sometimes referred to as niche or contemporary tourism, this book provides a complete introduction to the study of special interest tourism for students.

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialties of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.