Keith Negus addresses both the novice Dylan fan and the longtime listener in his new book, Bob Dylan. Negus first approaches the man as a mythical cultural figure before situating the music within the larger folk and blues tradition. He then examines the beginning of Dylan's career as a protest singer, his role as a performer, and his impact on popular music, concluding with an overall assessment of Dylan as an artist. Chapters titled "Surroundings," "Chronologies," "Traditions," "Lyrics," and "Music" take up the various aspects of Dylan's career, making for a smooth exploration of its overall yet unfinished trajectory. Negus also includes a complete discography as of 2007.

Bob Dylan (Icons of Pop Music)

Biographies & Memoirs

Negus, Keith

Arts & Literature

Indiana University Press

Producing Pop provides a fascinating behind-the-scenes analysis of one of the world's major entertainment industries. Focusing on the contribution of recording industry personnel, it challenges the simplistic assumption that pop music is merely determined by corporate financial interests, and argues against writers who portray the music business as a cultural assembly line.

Producing Pop: Culture and Conflict in the Popular Music Industry

Business & Money

Economics

Hodder Education Publishers

Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; `entertainment corporations' and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner's wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous `music of the streets' and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music's position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations.

Music Genres and Corporate Cultures

Humor & Entertainment

Routledge

In recent years `culture' has become a central concern in a wide range of fields and disciplines. This book introduces the main substantive and theoretical strands of this `turn to culture' through the medium of a particular case study: that of the Sony Walkman. Using the example of the Walkman, the book indicates how and why cultural practices and institutions have come to play such a crucial part in our lives, and introduces some of the central ideas, concepts and methods of analysis involved in conducting cultural studies.

Doing Cultural Studies: The Story of the Sony Walkman (Culture, Media and Identities series)

Politics & Social Sciences

Hall, Stuart

MACKAY, Hugh

Du Gay, Paul

Janes, Linda

Social Sciences

Sage Publications Ltd.

Creativity, Communication and Cultural Value

′There have been few critical engagements with the concept of creativity in recent years, so the authors provide an important contribution in drawing attention to what is arguably at the heart of much of what we most value in culture′ - Douglas Kellner, University of California, Los Angeles ′In this important book, Keith Negus and Michael Pickering challenge commonplace assumptions about creativity and casual invocations of genius. They give comfort neither to popular wisdom nor to academic convention. Drawing on the work of philosophers, sociologists, political theorists and economists, as well as artists, musicians and novelists, they raise profound questions about the very ideas which sustain our understanding of art and culture′ - Professor John Street, University of East Anglia ′It′s all too rare to read a cultural studies book that offers any real originality. This one achieves this, not only by addressing debates and sources neglected in the field, but also by traversing high and low culture, and all points between′ - Dave Hesmondhalgh, The Open University Creativity has become a buzzword and key issue in debates about cultural policy, human growth and the media and cultural industries. It has also become a very misused term used to describe anything from musical and artistic genius, to shady financial accounting, to the teaching of children and the management of employees. But what does it mean? Negus and Pickering provide a clear and logical way of understanding what we describe as creative, and how this term has become central to attaching cultural value. Their book: · Develops an approach which enables us to think of creativity as both ordinary and exceptional · Focuses on creativity as a way of rethinking key concepts in the study of culture such as: Convention; innovation; tradition and experience. This book is useful to those studying Media and Cultural Studies who need to understand Cultural Production, Communication, Popular Culture and Cultural Theory.

Pickering, Michael

'There have been few critical engagements with the concept of creativity in recent years, so the authors provide an important contribution in drawing attention to what is arguably at the heart of much of what we most value in culture' - Douglas Kellner, University of California, Los Angeles 'In this important book, Keith Negus and Michael Pickering challenge commonplace assumptions about creativity and casual invocations of genius. They give comfort neither to popular wisdom nor to academic convention. Drawing on the work of philosophers, sociologists, political theorists and economists, as well as artists, musicians and novelists, they raise profound questions about the very ideas which sustain our understanding of art and culture' - Professor John Street, University of East Anglia 'It's all too rare to read a cultural studies book that offers any real originality. This one achieves this, not only by addressing debates and sources neglected in the field, but also by traversing high and low culture, and all points between' - Dave Hesmondhalgh, The Open University Creativity has become a buzzword and key issue in debates about cultural policy, human growth and the media and cultural industries. It has also become a very misused term used to describe anything from musical and artistic genius, to shady financial accounting, to the teaching of children and the management of employees. But what does it mean? Negus and Pickering provide a clear and logical way of understanding what we describe as creative, and how this term has become central to attaching cultural value. Their book: · Develops an approach which enables us to think of creativity as both ordinary and exceptional · Focuses on creativity as a way of rethinking key concepts in the study of culture such as: Convention; innovation; tradition and experience. This book is

Winner of the International Association for the Study of Popular Music (IASPM) Book Award (1998) Popular Music in Theory is an original introduction to the key theoretical issues which arise in the study of contemporary popular music. It is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, and examines how popular music is mediated by technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by sounds and images, and also highlights distinctive theoretical routes into the study of contemporary popular music. Although intended mainly for students in sociology, media and communication studies, and cultural studies, the book will also give others a deeper understanding of popular music.

Popular Music in Theory: An Introduction (Music / Culture)

Arts & Photography

Music

Wesleyan University Press

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