I’m a used-to-be, going-to-be pianist, like Sarah, the protagonist in my book. Even though I didn’t take to the concert stage after studying music, I have integrated music throughout my career as a culture journalist and now as a novelist. I interviewed young bands as a radio host, presented German pop music as a TV host, spoke with A-level conductors as an online journalist, and have written two books about musicians who’ve had to rethink their life paths. Now as mom to three young children, including twins, I am known to sing either Schumann’s Dichterliebe or The Itsy Bitsy Spider too loudly during bathtime.
Like Sarah in my book (and me at one point, too), the mysterious German woman in the pea-green coat who faints in front of an eclectic London music shop has a broken relationship with music. Ironically, she’s good at fixing things and begins an awkward friendship with the shop’s owner Frank, who has a magical ability to match music with people. With its wonderfully flawed characters, this book is a tender tale of healing—both from music and with music—and a celebration of all musical genres.
BBC Radio 4 BOOK AT BEDTIME from 17-28 July. From the author of the world-wide bestseller, The Unlikely Pilgrimage of Harold Fry, a new novel about learning how to listen and how to feel; and about second chances and choosing to be brave despite the odds. Because in the end, music can save us all ... 1988. Frank owns a music shop. It is jam-packed with records of every speed, size and genre. Classical, jazz, punk - as long as it's vinyl he sells it. Day after day Frank finds his customers the music they need. Then into his life…
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
Sterne explores the cultural history of how and why Americans developed technologies that reproduced and transmitted sound. It is a surprising story that takes us through the Civil War and ideas about death, deaf children and their teachers, the discipline of medicine, and the practice of folklore. It turns out that cultural shifts encouraged the preservation of sound, and those machines we developed in turn changed the ways we listen.
The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and…
I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.
Commander Cody made that album for Warner Brothers Records during the time when the U.S. record business was grossing over a billion dollars a year.
During those heady days, no label group better exemplified the positive side of the industry than Warner, which stood as proof that you really could have profits with honor. From Frank Sinatra to Madonna, Warner put out music that generated sales and critical acclaim in equal measure.
Stan Cornyn was an executive at Warner for 34 years, overseeing countless publicity campaigns, and this delicious memoir evokes the industry’s glory days in the prestige penthouse. If Rounder was the cream of the independent-label crop, Warner was top of the major-label heap.
That's how Vanity Fair described the record business turmoil of the 1990s, which moved the Warner Music Group -- the world's number one record company -- from the entertainment pages to the front pages. Suddenly, decades of riotous fun and booming business went splat. Top music executives got evicted from their offices, some escorted by company guards. Why? The answers are in Exploding -- the most insightful and delightful book about the record business ever written.
In the rock explosion of the Sixties and Seventies, Warner Bros., Atlantic, and Elektra Records dominated the business as the Warner Music Group. But…
I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.
A century ago, the record industry sent representatives all over the country to do field recordings of vernacular artists playing folk, blues, and early country for “hillbilly” and “race” records (the sort that Rounder would start putting out in the 1970s).
One of these scouts was Ralph Peer from the Victor Talking Machine Company, for which he oversaw 1927’s legendary “Bristol Sessions.” It was the first time that Hall of Fame titans the Carter Family and Jimmie Rodgers recorded, generally cited as the beginning of the country music industry.
As explained in Barry Mazor’s excellent biography, Peer went on to become one of the giants of the recording and publishing industry, laying the groundwork that pretty much every record label including Rounder has followed since.
This is the first biography of Ralph Peer, the revolutionary A&R man and music publisher who pioneered the recording, marketing, and publishing of blues, jazz, country, gospel, and Latin music, and this book book tracks his role in such breakthrough events as the recording of Mamie Smith’s “Crazy Blues,” the first country recording sessions with Fiddlin’ John Carson, his discovery of Jimmie Rodgers and the Carter Family, the popularizing of Latin American music during World War II, and the postwar transformation of music on the airwaves that set the stage for the dominance of R&B,…
As an author and educator, my work centers on the history, business, and art of the music industry and film industry. I don’t think my fellow historians use musical evidence enough as a primary document that reveals much about the society and time period one is writing about—just as much as the usual primary and secondary documents historians use. I try to ensure my books are entertaining as well as rigorously researched. I’m also a songwriter, with many years in the music biz, and have done much work in radio, especially crafting music shows. I’m always discovering amazing stuff from various eras, and it’s not much fun if you don’t share it, which is part of why I’m on Twitter.
The story of how Warner Bros Records, perhaps the best, most profitable yet artist-friendly record label in the 1970s and 1980s became heavily damaged when it was bought out in the 1990s and put under corporate auspices and expectations. Goodman communicates the financial details in a clear and accessible way, as well as the music executives’ singular personalities. Also offers a close-up view of how the corporate execs, especially with their short-term focus on quarterly results, failed to deal with the challenges of Napster and downloads at the turn of the century. An insightful view of the changing components of the music business in our time.
In 1999, when Napster made music available free online, the music industry found itself in a fight for its life. A decade later, the most important and misunderstood story-and the one with the greatest implications for both music lovers and media companies-is how the music industry has failed to remake itself. In Fortune's Fool, Fred Goodman, the author of The Mansion on the Hill, shows how this happened by presenting the singular history of Edgar M. Bronfman Jr., the controversial heir to Seagram's, who, after dismantling his family's empire and fortune, made a high-stakes gamble to remake both the music…
My father, a huge Ella Fitzgerald fan, had a bunch of her records, and took us to hear her live once. So I knew mid-century jazz, but I had yet to discover its early origins. From the first, I knew my trilogy was set in the 1920s and one of the main characters had to be a jazz musician. I began collecting dozens of recordings by early jazz and blues artists, reading books about them, and I developed an enthusiasm for these early musicians. I found that the original “jazz maniacs” had the same passion for their music that I felt about rock and roll in the early 1960s.
Rereading this book, with its rhapsodic descriptions of some of the first jazz recordings, rekindles the excitement I was feeling about the early 1920s when I began writing my trilogy and researching the era. Kennedy chronicles the early Black and White jazz artists from New Orleans, who transplanted to Chicago, and the young Midwesterners who took up the mania for jazz. His enthusiasm for, and his devotion to the early development of jazz is infectious.
Some of the earliest performances by the likes of Jelly Roll Morton, the New Orleans Rhythm Kings, King Oliver, Louis Armstrong, and Bix Beiderbecke were preserved on recordings produced at Gennett Studios, an independent company operating in Richmond, Indiana, from 1917 to 1932. Hoagy Carmichael's "Stardust" debuted on Gennett as a dance stomp. The Gennetts made music history by recording young jazz pioneers in the Midwest and folk musicians from the Appalachian hills at a time when major record labels in the East couldn't be bothered.Gennett featured such country music stars as Gene Autry, Chubby Parker, and Bradley Kincaid and…
I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.
The record industry was at its compact-disc-era peak in the late 1990s, when a tech firm called Napster went into business. A file-sharing service, Napster allowed listeners to trade digital versions of songs online for free.
The record industry ignored it at first and then tried to fight it before giving in and offering its music for purchase as online downloads, but it was too late. The genie was out of the bottle, and label revenue plunged by more than half. There were some grim years before online streaming took hold, which boosted the record industry to its highest peak ever in the 2020s.
By then, Rounder was no longer an independent label – sold to the Concord Music Group. It exists to this day, but on a more modest scale than before.
For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world—and the advent of file sharing brought it to its knees.
In a comprehensive, fast-paced account full of larger-than-life personalities, Rolling Stone contributing editor Steve Knopper shows that, after the incredible wealth and excess of the '80s and '90s, Sony, Warner, and the other big players brought about their own downfall through years…
I’m a historian of the senses. When I first traveled to the United States, I was fascinated and overwhelmed by the smell and sound of the streets entirely different from my hometown in Japan. Since then, every time I go abroad, I enjoy various sensory experiences in each country. The first thing I always notice is the smell of the airport which is different from country to country. We all have the senses, but we sense things differently—and these differences are cultural. I wondered if they are also historical. That was the beginning of my inquiry into how our sensory experience has been constructed and changed over time.
Why do certain tunes become popular and others fail? What is music that sells? In Selling Sounds, Suisman explains how the music industry has shaped the culture of listening to music and how they capitalized on it, creating an entirely new music culture in the early-twentieth-century United States. This emergence of the music industry and culture involved not just the creation of novel sounds by a genius musician, but rather commercial, technological, and cultural changes, which are still with us today.
From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman's "Selling Sounds" explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today's vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast. "Selling Sounds"…
Since childhood, I've been in love with musicians, the world they live in, and the fruits of their labor. I spent years listening to my parent's record collection, which covered everything from pop, rock, and country, to jazz and classical. Today, music continues to stir my passion like nothing else. Though an industry career was never in the cards for me personally, I've frequently hovered around its periphery. My goal was to write a band story, one that strayed from common tropes to explore, through humor and heartbreak, the many joys and pitfalls of life in this mercurial and often nonsensical industry. The result was my trilogy, Idol Pursuits. Enjoy.
You've read it all before. The standard trope of a rockstar genius turned slow-motion trainwreck through drug-fueled self-indulgence has become all too common in music fiction. The truth is a successful career in the music business requires lots of hard work and smart decision-making. This is especially so in today's world of rapidly shifting technological and social dynamics. Herstand, in plain language, tells it like it is, offering both a sobering assessment of the many challenges you'll face, but also practical real-world advice on how to overcome them. Even if you have no intention of becoming a musician, it's an eye-opener into how the modern business works.
How to Make It in the New Music Business has become the go-to resource for "do it yourself" musicians eager to make a living in a turbulent industry. Inspiring thousands to stop waiting around for that "big break", Ari Herstand returns, maintaining that a stable career can be built by taking advantage of the tools at our fingertips. Including the latest trends and developments in the bustling UK music scene, he offers inspiring success stories across media. With the overarching theme of making real connections with human beings, it is a must-have for anyone navigating the complex yet advantageous modern…
I am a registered nurse, author, and dementia daughter. As a nurse and hospital case manager, I spent many years caring for people living with dementia and their families. This inspired me to write a novel, Blue Hydrangeas, an Alzheimer’s love story. I soon encountered difficulties marketing my book. I reached out to two other dementia daughters I’d met online who had also written books on the subject from personal experience and together we founded the non-profit organization AlzAuthors.com. Our mission is to carefully vet resources – stories of personal caregiving – to help busy caregivers find the information and inspiration they need for their own journeys. To date, we are 300+ authors strong.
A love of cycling brought Peter Berry and Deb Bunt together as friends. Deb had not encountered a person with dementia until she met Peter. His positive attitude about living well with dementia and his poetic and insightful musings on his condition inspired her to write his memoir, to preserve his story. This is a deeply moving book, full of beautiful, lyrical language.
This is an account of a year in the life of Peter Berry, an ordinary man living in a sleepy Suffolk village. Happily married and running a successful business, Peter's life changes when, at the age of fifty, he is given a terminal diagnosis of early-onset dementia. Since that day, he has learned to live with his very own 'dementia monster'. From depression and suicide attempts through to his determination to confront his dementia, Peter has embarked on a series of challenges to show that 'life isn't over with dementia, it's just a little different'. Peter has now raised thousands…
