"Hailed as an "indispensable" guide (Forbes), How to Make It in the New Music Business returns in this extensively revised and expanded edition. When How to Make It in the New Music Business hit shelves in 2016, it instantly became the go-to resource for musicians eager to make a living in a turbulent industry. Widely adopted by music schools everywhere and considered "the best how- to book of its kind" (Music Connection), it inspired thousands to stop waiting around for that "big break." Now trusted as the leading expert for "do it yourself" artists, Ari Herstand returns with this second edition, maintaining that a stable career can be built by taking advantage of the many tools at our fi ngertips: conquering social media, mastering the art of merchandising, embracing authentic fan connection, and simply learning how to persevere. Comprehensively updated to include the latest online trends and developments, it offers inspiring success stories across media such as Spotify and Instagram. The result is a must- have for anyone hoping to navigate the increasingly complex yet advantageous landscape that is the modern music industry"--

A bilingual portrait of the Queen of Salsa describes her childhood in Cuba, her musical career, and her move to the United States, and explains how her music brought her native Cuba to the world.

'An entertaining guide to economics by a former adviser to Barack Obama that uses the lessons of the music business to explain what is happening in the rest of the world' The Times , Books of the Year 'A key voice on a vast array of economic issues for more than two decades' Barack Obama 'An absolutely brilliant mind. The definition of left and right brain balance' Quincy Jones 'The music business keeps re-inventing itself (from records, to tape, to CDs to streaming) and Alan Krueger covers all the bases. As one former LSE student once sang: 'its only rock and roll but I like it, like it, yes I do.' That applies to this book too' Richard Thaler, Nobel Prize Recipient and author of 'Nudge' ' Rockonomics is entertaining, educational and enlightening. Alan Krueger gives us a backstage tour of the music industry - and in doing so, he creates a brilliant metaphor for our entire economy. Highly recommended' Harlan Coben Alan Krueger, the former chairman of the president's Council of Economic Advisers, uses the music industry, from rock artists to music executives, from managers to promoters, as a way in to explain the principles of economics, and the forces shaping our economic lives. The music industry is often a leading indicator of today's economy; it is among the first to be disrupted by the latest wave of technology, and examining the ins and outs of how musicians create and sell new songs and plan concert tours offers valuable lessons for what is in store for businesses and employees in other industries that are struggling to adapt. Drawing on interviews with leading band members, music executives, managers, promoters, and using the latest data on revenues, royalties, tour dates, and merchandise, Rockonomics takes readers backstage to show how the music industry really works - who makes money, how the economics of the music industry has undergone a radical transformation during the last twenty years, and what this tells us about our wider economy today.

The engrossing, insightful, and personal musical odyssey of Peter Shapiro, perhaps the most notable independent concert promoter since Bill Graham Peter Shapiro is the best known and most influential concert promoter of his generation. He owned the legendary Wetlands in Tribeca and has gone on to much bigger things, including Brooklyn Bowl (NYC, Las Vegas, Philadelphia, and Nashville), the Capitol Theatre in Port Chester, producing U2 3D , and promoting the Grateful Dead's fiftieth-anniversary tour ("Fare Thee Well") featuring the Core Four and Trey Anastasio . . . and so much more. In The Music Never Stops , Shapiro shares the inside story of how he became a power-house in the music industry--an island in an increasingly consolidated landscape of venues, ticketing, and touring--through the lens of fifty iconic concerts. Along the way, readers gain insight into what it was like to work with some of the most celebrated bands in modern music, including not just the Grateful Dead and U2, but also Bob Dylan, Phish, Dave Matthews Band, Al Green, Ms. Lauryn Hill, Jason Isbell, Preservation Hall Jazz Band, The Roots, Robert Plant, Leonard Cohen, and many more. Featuring never-before-published back-stage anecdotes, insights, and photographs of the biggest bands in the business and the concerts that later became legendary, The Music Never Stops is a perfect guide for any-one who wants to understand the modern live music industry.

To celebrate the centennial of the great American composing team George and Ira Gershwin, we proudly present a resplendent Warren Barker treatment of some of the Gershwin's fabulous hits, including Fascinating Rhythm, Embraceable You, Somebody Loves Me, Someone To Watch Over Me and I Got Rhythm. Splashes of color, charismatic textures, and all of the Barker 'trademarks' are here. A stunning rendition! (duration 6: 40)

The original Talking Jazz has been widely praised as the the best book of interviews with contemporary jazz musicians in print. This second volume contains thirty-five more previously unpublished exchanges that the author conducted on his National Public Radio show, Sidran on Record.

The world-renowned musicologist Richard Taruskin has devoted much of his career to helping listeners appreciate Russian and Soviet music in new and sometimes controversial ways. Defining Russia Musically represents one of his landmark achievements: here Taruskin uses music, together with history and politics, to illustrate the many ways in which Russian national identity has been constructed, both from within Russia and from the Western perspective. He contends that it is through music that the powerful myth of Russia's "national character" can best be understood. Russian art music, like Russia itself, Taruskin writes, has "always [been] tinged or tainted ... with an air of alterity--sensed, exploited, bemoaned, reveled in, traded on, and defended against both from within and from without." The author's goal is to explore this assumption of otherness in an all-encompassing work that re-creates the cultural contexts of the folksong anthologies of the 1700s, the operas, symphonies, and ballets of the 1800s, the modernist masterpieces of the 1900s, and the hugely fraught but ambiguous products of the Soviet period. Taruskin begins by showing how enlightened aristocrats, reactionary romantics, and the theorists and victims of totalitarianism have variously fashioned their vision of Russian society in musical terms. He then examines how Russia as a whole shaped its identity in contrast to an "East" during the age of its imperialist expansion, and in contrast to two different musical "Wests," Germany and Italy, during the formative years of its national consciousness. The final section, expanded from a series of Christian Gauss seminars presented at Princeton in 1993, focuses on four individual composers, each characterized both as a self-consciously Russian creator and as a European, and each placed in perspective within a revealing hermeneutic scheme. In the culminating chapters--Chaikovsky and the Human, Scriabin and the Superhuman, Stravinsky and the Subhuman, and Shostakovich and the Inhuman--Taruskin offers especially thought-provoking insights, for example, on Chaikovsky's status as the "last great eighteenth-century composer" and on Stravinsky's espousal of formalism as a reactionary, literally counterrevolutionary move.

With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical. Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns. Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan. Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up. A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.

Theodor Adorno is one of this century’s most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno’s insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume’s somewhat colloquial tone. This colloquialism, in dialogue with Adorno’s unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno’s method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today’s interdisciplinary studies.