This book provides fresh insight into the creative practice developed by Paul McCartney over his extended career as a songwriter, record producer and performing musician. It frames its examination of McCartney's work through the lens of the systems model of creativity developed by Mihaly Csikszentmihalyi and combines this with the research work of Pierre Bourdieu. This systems approach is built around the basic structures of idiosyncratic agents, like McCartney himself, and the choices he has made as a creative individual. It also locates his work within social fields and cultural domains, all crucial aspects of the creative system that McCartney continues to be immersed in. Using this tripartite system, the book includes analysis of McCartney's creative collaborations with musicians, producers, artists and filmmakers and provides a critical analysis of the Romantic myth which forms a central tenet of popular music. This engaging work will have interdisciplinary appeal to students and scholars of the psychology of creativity, popular music, sociology and cultural studies.

This books provides a critical perspective on entrepreneurialism in the creative industries. Split into three sections, the book first asks the contextual question; why, at this point in time, did we arrive at such a focus on entrepreneurship in the creative industries? Examining the historical, social, cultural, economic and political background, the book places the creative industries and entrepreneurship firmly within a systemic approach to creativity and cultural production. Given this emphasis on entrepreneurship in the creative system, the second part of the book asks, what do those who want to work in the creative industries need to do to pragmatically gain an income? The practices, skills, business models and plans necessary to master in order to successfully run a business are explored in this section. The final section contains detailed case studies that reveal the lives of those who found a way to successfully gain an income in the creative industries. It highlights the practical knowledge they gathered, how they negotiated their field of endeavour, and the decisions they made in the real world. Fundamentally the book answers three questions: How and why did we get here? Given that we are here at this point in time, how do we go about being entrepreneurial? And who has managed to do this in the creative industries and how did they do it? Covering both theoretical debates in detail, and practical case studies in key sub-sectors of creative industries, this truly integrative and far-reaching volume will be of interest to students, researchers and practitioners alike.

This book provides innovative insights into how creativity can be taught within higher education. Preparing students for employment in a dynamic set of global creative industries requires those students to not only be resilient and entrepreneurial, but also to be locally focused while being globally aware. Therefore it is imperative that they acquire a thorough understanding of creative processes and practice as they try to keep pace with worldwide digital trends. As the creation of media messages is a fundamental aspect of global creative industries, and that numerous concerns practitioners face are based upon a certain understanding of creativity, the authors propose an exploration of what creativity is in terms of research, and then apply it pedagogically. Drawing on extensive empirical research, the authors pose the thought-provoking question of whether creativity can be taught. This volume will be of interest to both students and scholars of creativity and higher education as well as to creatively-based practitioners more widely.

This book provides fresh insight into the creative practice developed by Paul McCartney over his extended career as a songwriter, record producer and performing musician. It frames its examination of McCartney's work through the lens of the systems model of creativity developed by Mihaly Csikszentmihalyi and combines this with the research work of Pierre Bourdieu. This systems approach is built around the basic structures of idiosyncratic agents, like McCartney himself, and the choices he has made as a creative individual. It also locates his work within social fields and cultural domains, all crucial aspects of the creative system that McCartney continues to be immersed in. Using this tripartite system, the book includes analysis of McCartney's creative collaborations with musicians, producers, artists and filmmakers and provides a critical analysis of the Romantic myth which forms a central tenet of popular music. This engaging work will have interdisciplinary appeal to students and scholars of the psychology of creativity, popular music, sociology and cultural studies.

This book provides innovative insights into how creativity can be taught within higher education. Preparing students for employment in a dynamic set of global creative industries requires those students to not only be resilient and entrepreneurial, but also to be locally focused while being globally aware. Therefore it is imperative that they acquire a thorough understanding of creative processes and practice as they try to keep pace with worldwide digital trends. As the creation of media messages is a fundamental aspect of global creative industries, and that numerous concerns practitioners face are based upon a certain understanding of creativity, the authors propose an exploration of what creativity is in terms of research, and then apply it pedagogically. Drawing on extensive empirical research, the authors pose the thought-provoking question of whether creativity can be taught. This volume will be of interest to both students and scholars of creativity and higher education as well as to creatively-based practitioners more widely.