'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.

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.