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The recording industry has been a major focus of interest for
cultural commentators throughout the twenty-first century. As the
first major content industry to have its production and
distribution patterns radically disturbed by the internet, the
recording industry s content, attitudes and practices have
regularly been under the microscope. Much of this discussion,
however, is dominated by US and UK perspectives and assumes the the
recording industry to be a relatively static, homogeneous,
entity.
This book attempts to offer a broader, less Anglocentric and
more dynamic understanding of the recording industry. It starting
premise is the idea that the recording industry is not one thing
but is, rather, a series of recording industries, locally organised
and locally focused, both structured by and structuring the
international industry. Seven detailed case studies of different
national recording industries illustrate this fact, each of them
specifically chosen to provide a distinctive insight into the
workings of the recording industry. The expert contributions to
this book provide the reader with a sense of the history, structure
and contemporary dynamics of the recording industry in these
specific territories, and counteract the Anglo-American bias of
coverage of the music industry.
The International Recording Industries will be valuable to
students and scholars of sociology, cultural studies, media
studies, cultural economics and popular music studies."
Simon Frith has been one of the most important figures in the
emergence and subsequent development of popular music studies. From
his earliest academic publication, The Sociology of Rock (1978),
through to his recent work on the live music industry in the UK, in
his desire to 'take popular music seriously' he has probably been
cited more than any other author in the field. Uniquely, he has
combined this work with a lengthy career as a music critic for
leading publications on both sides of the Atlantic. The
contributions to this volume of essays and memoirs seek to honour
Frith's achievements, but they are not merely 'about Frith'.
Rather, they are important interventions by leading scholars in the
field, including Robert Christgau, Antoine Hennion, Peter J. Martin
and Philip Tagg. The focus on 'sociology and industry' and
'aesthetics and values' reflect major themes in Frith's own work,
which can also be found within popular music studies more
generally. As such the volume will become an essential resource for
those working in popular music studies, as well as in musicology,
sociology and cultural and media studies.
The recording industry has been a major focus of interest for
cultural commentators throughout the twenty-first century. As the
first major content industry to have its production and
distribution patterns radically disturbed by the internet, the
recording industry s content, attitudes and practices have
regularly been under the microscope. Much of this discussion,
however, is dominated by US and UK perspectives and assumes the the
recording industry to be a relatively static, homogeneous,
entity.
This book attempts to offer a broader, less Anglocentric and
more dynamic understanding of the recording industry. It starting
premise is the idea that the recording industry is not one thing
but is, rather, a series of recording industries, locally organised
and locally focused, both structured by and structuring the
international industry. Seven detailed case studies of different
national recording industries illustrate this fact, each of them
specifically chosen to provide a distinctive insight into the
workings of the recording industry. The expert contributions to
this book provide the reader with a sense of the history, structure
and contemporary dynamics of the recording industry in these
specific territories, and counteract the Anglo-American bias of
coverage of the music industry.
The International Recording Industries will be valuable to
students and scholars of sociology, cultural studies, media
studies, cultural economics and popular music studies.
Simon Frith has been one of the most important figures in the
emergence and subsequent development of popular music studies. From
his earliest academic publication, The Sociology of Rock (1978),
through to his recent work on the live music industry in the UK, in
his desire to 'take popular music seriously' he has probably been
cited more than any other author in the field. Uniquely, he has
combined this work with a lengthy career as a music critic for
leading publications on both sides of the Atlantic. The
contributions to this volume of essays and memoirs seek to honour
Frith's achievements, but they are not merely 'about Frith'.
Rather, they are important interventions by leading scholars in the
field, including Robert Christgau, Antoine Hennion, Peter J. Martin
and Philip Tagg. The focus on 'sociology and industry' and
'aesthetics and values' reflect major themes in Frith's own work,
which can also be found within popular music studies more
generally. As such the volume will become an essential resource for
those working in popular music studies, as well as in musicology,
sociology and cultural and media studies.
Aaron Lee Marshall served 452 days on Active Duty during Operation
Iraqi Freedom II as a Military Police Officer attached to the 1st
Infantry Division in Baqubah, Iraq. This book is a collection of
recordings, notes, emails, letters, memories and dreams put
together by the author to help the reader better understand the
root causes of trauma facing the modern day soldier.
"The History of Prime Time Television" is a user-friendly textbook
that chronicles television's unique history from the drawing board
to the living room, and beyond. Organized chronologically, the book
begins by briefly addressing the age of invention and the birth of
radio. However, the primary focus of the text surrounds prime time
programming, homing in on the series that defined their respective
decade by reflecting changes in the culture, style and values of
the time, and how some went on to become iconic representations of
20th and 21st century America.
Each decade's historical importance, as well as all of the nuance
and chronological markers connected to the story of television
itself, is covered in a way that engages students and helps them
retain what they are learning. Discussion questions geared to tap
into the students critical thinking follow every chapter. Topics
include:
Invention and Promotion Television s Early StrugglesHow Serious
Programming began with ComedyThe Role of Television During
WartimePrime Time Television's Golden AgeCivil Rights and
TelevisionLong-Form TelevisionTelevision s Symbiotic Relationship
to SportsThe Birth and Growth of Cable ProgrammingReality
Programming
Students will also glean information about the impact of each
decade s culture on television and learn about the transition from
black and white to color programming, deregulation, censorship, and
the future of television in the new millennium.
"The History of Prime Time Television" includes fascinating
information about the historical milestones that made television
not just a form of entertainment, but a social mediator, a
political force, and American's window into the human experience
and condition. The book is ideal for courses in the areas of media
history, entertainment history, and media communications.
George Lee Marshall earned his Bachelor of Arts Degree from San
Diego State University. Working for the government after college,
he went on to make educational and training films for the United
States Navy. In 1983, he began writing for both television and
feature films, selling over 50 screenplays, treatments, long-form
teleplays, television episodes and pilots over the next twenty-five
years, earning him lifetime member status in the Writers Guild of
America. In 2000, he was asked by San Diego State University to
develop and teach writing courses for their School of Theater,
Television and Film. There, over the past 13 years, Lee has
introduced curriculum and created courses for upper-division and
graduate-level classes, including The History of Prime Time
Television. Professor Marshall has worked with the Veteran's
Administration at California State University, Long Beach to create
and teach a 15-week real-time online storytelling course for
returning veterans, while being twice recognized at SDSU as his
department s Outstanding Faculty. Professor Marshall currently
lectures at the nationally acclaimed Dodge College of Film and
Media Arts on the Chapman University Campus teaching TV history,
business, and writing courses.
'A valuable and distinctive contribution to the penumbra debate,
refreshingly shedding light on some of the cliches of copyright,
and alerting readers to the extra-legal factors that cannot be
ignored in any socially-embedded study of copyright' - Stuart
Hannabuss, Aberdeen Business School 'Bootlegging is a smart,
provocative and highly readable analysis of the high theory and low
practices of music copyright and its transgressors. It is most
refreshing to read a sociological analysis of a topic usually left
to lawyers and industry apologists. An essential book for anyone
who wants to understand the contemporary music industry' Simon
Frith - Professor of Film and Media Studies, University of
Stirling. Bootlegs - live concert recordings or studio outtakes
reproduced without the permission of the rights holder - hold a
prominent position in the pantheon of popular music. They are also
much misrepresented and this fascinating book constitutes the first
full length academic treatment of the subject. By examining the
centrality of Romantic authorship to both copyright and the music
industry, the author highlights the mutual dependence of capitalism
and Romanticism, which situates the individual as the key creative
force while challenging the commodification of art and self.
Marshall reveals how the desire for bootlegs is driven by the same
ideals of authenticity employed by the legitimate industry in its
copyright rhetoric and practice and demonstrates how bootlegs exist
as an antagonistic but necessary component of an industry that does
much to prevent them. This book will be of great interest to
researchers and students in the sociology of culture, social
theory, cultural studies and law.
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