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Let legendary rock manager Simon Napier-Bell take you inside the (dodgy) world of popular music – not just a creative industry, but a business that has made people rich beyond their wildest dreams. He balances seductive anecdotes – pulling back the curtain on the gritty and absurd side of the industry – with an insightful exploration of the relationship between creativity and money. This book describes the evolution of the industry from 1713 – the year parliament granted writers ownership over what they wrote – to today, when a global, 100 billion pound industry is controlled by just three major players: Sony, Universal and Warner. Inside you will uncover some little-known facts about the industry, including: How a formula for writing hit songs in the 1900s helped create 50,000 of the best-known songs of all time. How infighting in the American pre-war music industry shut down traditional radio and created an opening for country music, race records and rock'n'roll. How Jewish immigrants and black jazz musicians dancing cheek-to-cheek created a template for all popular music that followed. How rock tours became the biggest, quickest, sleaziest and most profitable ventures the music industry has ever seen. After reading Ta-Ra-Ra-Boom-De-Ay, you'll never listen to music in the same way again.
The most authoritative, intelligent, diligently researched and unpretentious analysis of the British pop scene yet written' Sunday Telegraph Black Vinyl White Powder charts the amazing fifty year history of the British music business in unparalleled scale and detail. As a key player across the decades, Napier-Bell - who discovered Marc Bolan and managed amongst others The Yardbirds and Wham! - uses his wealth of contacts and extraordinary personal experiences to tell the story of an industry that is like no other. Where bad behaviour is not only tolerated but encouraged, where drugs are sometimes as important as talent, where artists are pushed to their physical and mental limits in the name of profit and ego. 'The Greatest Ever Book Written about English Pop-Breathtakingly Brilliant' Julie Burchill 'The cold print equivalent of a sparkling evening with a world-class raconteur.' Charles Shaar Murray, Independent Bitchy, glib, fun and shrewd' Daily Telegraph
Pop manager extraordinaire Simon Napier-Bell had had enough. He'd had enough of pop groups. He'd had enough of the constant grief at home with his two ex-boyfriends bickering and bleeding him dry; and most of all he'd had enough of the music biz. But then he fell in love with a new passion - the Far East; and a dynamic new duo - George and Andrew - jointly called Wham! Soon, in an audacious attempt to have the best of both worlds, he found himself offering to arrange for Wham! to be the first ever Western pop group to play in communist China - a masterstroke of PR which, in one swift stroke, would make them one of the biggest groups in the world. What follows is an exciting, unpredictable and hilarious romp around the more curious corners of the world as Napier-Bell dives into the unknown, attempting to achieve the unachievable. We soon find ourselves in the company of a wonderful cast of petulant pop stars, shady international 'businessmen', and a hilarious confusion of spies, students and institutionalised officials and ministers as he edges ever closer to inadvertently becoming one of the first Westerners to break down the walls of communist China.
The films of the New French Extremity have been reviled by critics but adored by fans and filmmakers. Known for graphically brutal depictions of sex and violence, the subgenre emerged from the French art-house scene in the late 1990s and became a cult phenomenon, eventually merging into the horror genre where it became associated with American torture porn. Decidedly French in flavor, the films seek to reveal the dark side of French society. This book provides an in-depth study of New French Extremity, focusing on such films as Trouble Every Day (2001), Irreversible (2002), Twentynine Palms (2003), High Tension (2003) and Martyrs (2008). The author explores the social implications of cinematic cruelty presented not as "violent films" but as "films about violence."
You probably know Simon Napier-Bell as the manager of the Yardbirds. Or you may know him as the man who managed Marc Bolan, or Japan. You should definitely know him as the man who managed Wham! And if none of these rings a bell, maybe you'll remember him as the man who co-wrote 'You Don't Have To Say You Love Me' for Dusty Springfield. You Don't Have To Say You Love Me is one of the funniest books you will read and equally provoking. From his revelation that the entire music industry was motivated by sex, to an embarrassing come-on from a suicidal Brian Epstein, it's all shocking stuff. But when you're on the run from the German police with Marc Bolan, brothel-hopping with Keith Moon and generally living the life of Riley at the music industry's expense, it would be a shame not to share those amazing experiences with the rest of the world, wouldn't it? Of all the great pop-music books written, it is worth savouring You Don't Have To Say You Love Me for its brilliant sideways insight into one of the most exciting cultural periods Britain has ever seen.
An account of the heyday of rock & roll through the lens of Allen Klein, the business manager, producer, and gadfly who "broke up the Beatles" and showed the Rolling Stones how to become the pre-eminent dynasty in popular music.
This book tackles issues of globalization in the English Premier League and unpicks what this means to fan groups around the world, drawing upon a range of sociological theories to tell the story of the local and global repertoires of action emanating from the popular protests at Liverpool and Manchester United football clubs.
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