Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; `entertainment corporations' and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner's wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous `music of the streets' and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music's position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations.

Keith Negus examines the contrasting strategies of major labels such as Sony and Polygram, exploring the seemingly haphazard workings of the music industry and the uneasy relationship between economics and culture; entertainment corporations and the artists they sign.
Through in-depth case studies of three major genres; rap, country, and salsa and using interviews with over seventy music industry personnel, Negus researches the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. Music Genres and Corporate Cultures shows how popular music is shaped by the industry yet stresses that music production takes place within a broader culture, one not totally within the control of large corporations.

Popular Music in Theory provides a critical introduction to the key theoretical issues which arise in the study of contemporary popular music. The book is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, examining the ways that popular music is mediated by a series of technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by the sounds and images of popular music, and also highlights distinctive theoretical routes into the study of contemporary popular music. This volume is intended mainly for undergraduate and postgraduate students taking courses in sociology, media and communication studies, and cultural studies. However, it will also appeal to those who enjoy thinking and talking about popular music and who might like to delve a little deeper.

"Bob Dylan" provides a short introduction to the music of Bob Dylan including an examination of the impact of his work over time and key critical responses. This book starts by locating Dylan's work within a much broader context of the history of the American popular song and its various antecedents, examining how his music draws on a rich heritage of folk, blues, country, r'n'b as well as ballads, standards, nursery rhymes and pop tunes. Focusing on a selection of songs, it examines how his use of words, voice, instruments, melody and timbre, can be understood within the context of various traditions.Much of the writing about Bob Dylan tends to privilege a few recordings, and a limited range of recurring stylistic themes, placing considerable emphasis on Dylan's early career as a 'protest' singer, and then his surrealistic, stream of consciousness mid-1960s music. Yet, the vast majority of Dylan's musical output has been somewhat less radical (but not necessarily less imaginative) and concerned with questions of romantic desire, lust and loss.Negus shows how these thematic concerns are frequently woven into a narrative style that draws from a range of storytelling traditions as diverse as broadside ballads, modern novels and Hollywood cinema. Negus then considers Bob Dylan's enduring impact on new generations of artists in various musical traditions and different parts of the world as well as the influences upon Dylan's changing style and performing identity, from the turn to electric guitars in the 1960s, to the embracing of Christianity and gospel influences in the late 1970s, and increasing explicit use of folk, ballad, blues and country styles in his later work. In assessing some of the key critical responses to Dylan, and in considering his canonisation within a specific popular music tradition, Negus finally asks how claims for Bob Dylan's genius might be assessed. Why is Dylan's work accorded so much value within the popular music canon, and is this justified?

"Arguably the most famous book in its field... In theoretical terms, the legacy of Doing Cultural Studies confirms that this classic read is not just about the Walkman itself, but represents a series of clear observations about the symbolic meanings of culture." - LSE Review of Books Why think about the Walkman in the 21st century? Can the Walkman help us understand today's media and cultural practices? Through the notion of the 'circuit of culture', this book teaches students to critically examine what culture means, and how and why it is enmeshed with the media texts and objects in their lives. Students will: Unpack the key concepts of contemporary culture, such as mobility, materiality, consumption and identity Learn to think about some of the cultural conundrums of the present and their relation to the past, such as branding culture Look with fresh eyes at today's media world and the cultural practices it gives rise to Gain practical experience with the historical comparative method Practice their critical skills with up-to-date exercises and activities This book takes students on a journey between past and present, giving them the skills do to cultural analysis along the way. It remains the perfect 'how to' for students in media studies, cultural studies, design and sociology.

"Arguably the most famous book in its field... In theoretical terms, the legacy of Doing Cultural Studies confirms that this classic read is not just about the Walkman itself, but represents a series of clear observations about the symbolic meanings of culture." - LSE Review of Books Why think about the Walkman in the 21st century? Can the Walkman help us understand today's media and cultural practices? Through the notion of the 'circuit of culture', this book teaches students to critically examine what culture means, and how and why it is enmeshed with the media texts and objects in their lives. Students will: Unpack the key concepts of contemporary culture, such as mobility, materiality, consumption and identity Learn to think about some of the cultural conundrums of the present and their relation to the past, such as branding culture Look with fresh eyes at today's media world and the cultural practices it gives rise to Gain practical experience with the historical comparative method Practice their critical skills with up-to-date exercises and activities This book takes students on a journey between past and present, giving them the skills do to cultural analysis along the way. It remains the perfect 'how to' for students in media studies, cultural studies, design and sociology.

'There have been few critical engagements with the concept of creativity in recent years, so the authors provide an important contribution in drawing attention to what is arguably at the heart of much of what we most value in culture'

- " Douglas Kellner, University of California, Los Angeles

"

'In this important book, Keith Negus and Michael Pickering challenge commonplace assumptions about creativity and casual invocations of genius. They give comfort neither to popular wisdom nor to academic convention. Drawing on the work of philosophers, sociologists, political theorists and economists, as well as artists, musicians and novelists, they raise profound questions about the very ideas which sustain our understanding of art and culture'

- "Professor John Street, University of East Anglia

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'It's all too rare to read a cultural studies book that offers any real originality. This one achieves this, not only by addressing debates and sources neglected in the field, but also by traversing high and low culture, and all points between'

- "Dave Hesmondhalgh, The Open University

"

Creativity has become a buzzword and key issue in debates about cultural policy, human growth and the media and cultural industries. It has also become a very misused term used to describe anything from musical and artistic genius, to shady financial accounting, to the teaching of children and the management of employees.

But what does it mean?

Negus and Pickering provide a clear and logical way of understanding what we describe as creative, and how this term has become central to attaching cultural value. Their book:

. Develops an approach which enables us to think of creativity as both ordinary and exceptional

. Focuses on creativity as a way of rethinking key concepts in the study of culture such as:

Convention; innovation; tradition and experience.

This book is useful to those studying Media and Cultural Studies who need to understand Cultural Production, Communication, Popular Culture and Cultural Theory."

This title introduces students to significant debates in the field of popular music, offering fresh perspectives and suggesting new directions. The title covers textual analysis, place and space, production, consumption and everyday life. It outlines the history and development of popular music studies and introduces a contribution to understanding musical cultures. It also offers an international perspective on popular music, featuring writers based in North and South America, Europe, Japan, Australia, New Zealand and South Africa. The text features prominent writers in the field, showcasing a generation of new voices. An interdisciplinary text, it features contributions from media and cultural studies, sociology, music analysis, ethnomusciology and performance studies. "Popular Music Studies" also provides clear and concise editorial material, explaining how the chapters fit into the main debates in popular music studies.