This Business Of Urban Music

The first reference book all about the business side of gospel and urban music. Hip-hop and R&B hold 25 percent of the consumer music market. Another 20 percent is held by religious (gospel and Christian) music, soul, disco, dance, and jazz. Here’s the first reference book to offer sound business and legal advice specifically tailored to these areas of the music industry. Securing a record deal, starting a label, publishing music, marketing and promoting—this is the information that today’s musicians need. With insightful examples, quotes, and anecdotes from dozens of top artists and executives, This Business of Urban Music is entertaining as well as informative. Author James J. Walker, Jr., is a leading entertainment lawyer, representing such well-known clients as Cole, Jamie Foxx, DMX, and many others. Now he brings his years of professional expertise in litigation, business, intellectual property, and corporate law to This Business of Urban Music—at a price every aspiring musician can afford.

Here s the first reference book to offer sound business and legal advice specifically tailored to these areas of the music industry. Securing a record deal, starting a label, publishing music, marketing and promoting - this is the information that today s musicians need. With insightful examples, quotes, and anecdotes from dozens of top artists and executives, This Business of Urban Music is entertaining as well as informative. Author James J. Walker, Jr., is a leading entertainment lawyer, representing such well-known clients as Cole, Jamie Foxx, DMX, and many others. Now he brings his years of professional expertise in litigation, business, intellectual property, and corporate law to This Business of Urban Music - at a price every aspiring musician can afford.

Youth unemployment in the UK remains around the one million mark, with many young people from impoverished backgrounds becoming and remaining NEET (Not in Education, Employment, or Training). However, the NEET categorisation covertly disguises and obscures the significance of the diverse range of activities, achievements and accomplishments of those who operate in the informal creative economy. With grime music and its related enterprise a key component of the urban music economy, this book employs the inherent contradictions and questions that emerge from an exploration of the grime music scene to build a complex reading of the socio-economic significance of urban music. Incorporating insightful dialogue with the participants in this economy, White challenges the prevailing wisdom on marginalised young people, whilst also confronting the assumption that the inertia and localisation of the grime culture results from its close links to NEET "members" and the informal sector. Offering an ethnographic and timely critique of the NEET classification, this compelling book would be suitable for undergraduate and post-graduate students interested in urban studies, business, work and labour, education and employment, ethnography, music, and cultural studies.

Given than hip hop music alone has generated more than a billion dollars in sales, the absence of a major black record company is disturbing. Even Motown is now a subsidiary of the Universal Music Group. Nonetheless, little has been written about the economic relationship between African-Americans and the music industry. This anthology dissects contemporary trends in the music industry and explores how blacks have historically interacted with the business as artists, business-people and consumers.

The prevailing discourse surrounding urban music education suggests the deficit-laden notion that urban school settings are "less than," rather than "different than," their counterparts. Through the lens of contextually-specific teaching, this book provides a counternarrative on urban music education that encourages urban music teachers to focus on the strengths of their students as their primary resource. Through a combination of research-based strategies and practical suggestions from the author's own experience teaching music in urban settings, the book highlights important issues for teachers to consider, such as culturally relevant pedagogy, the "opportunity gap," race, ethnicity, socioeconomic status, musical content, curricular change, music program development, student motivation, and strategies for finding inspiration and support. Throughout the book, the stories of five highly successful urban music teachers are highlighted, providing practical, real-world advice for music teachers across the domains of general, choral, band, and string music teaching. Recognizing that the term "urban" can encompass a wide variety of different school and community settings, this book challenges all teachers who work in under-served and under-resourced settings to take a critical look at their own music classroom and work to tailor their pedagogy to meet the particular needs of their students.

“There has never been a better book about hip-hop…a record-biz portrait that jumps off the page.”—A.V. Club THE INSPIRATION FOR THE VH1 SERIES THE BREAKS The Big Payback takes readers from the first $15 made by a “rapping DJ” in 1970s New York to the multi-million-dollar sales of the Phat Farm and Roc-a-Wear clothing companies in 2004 and 2007. On this four-decade-long journey from the studios where the first rap records were made to the boardrooms where the big deals were inked, The Big Payback tallies the list of who lost and who won. Read the secret histories of the early long-shot successes of Sugar Hill Records and Grandmaster Flash, Run DMC's crossover breakthrough on MTV, the marketing of gangsta rap, and the rise of artist/ entrepreneurs like Jay-Z and Sean “Diddy” Combs. 300 industry giants like Def Jam founders Rick Rubin and Russell Simmons gave their stories to renowned hip-hop journalist Dan Charnas, who provides a compelling, never-before-seen, myth-debunking view into the victories, defeats, corporate clashes, and street battles along the 40-year road to hip-hop's dominance. INCLUDES PHOTOGRAPHS

Youth unemployment in the UK remains around the one million mark, with many young people from impoverished backgrounds becoming and remaining NEET (Not in Education, Employment, or Training). However, the NEET categorisation covertly disguises and obscures the significance of the diverse range of activities, achievements and accomplishments of those who operate in the informal creative economy. With grime music and its related enterprise a key component of the urban music economy, this book employs the inherent contradictions and questions that emerge from an exploration of the grime music scene to build a complex reading of the socio-economic significance of urban music. Incorporating insightful dialogue with the participants in this economy, White challenges the prevailing wisdom on marginalised young people, whilst also confronting the assumption that the inertia and localisation of the grime culture results from its close links to NEET "members" and the informal sector. Offering an ethnographic and timely critique of the NEET classification, this compelling book would be suitable for undergraduate and post-graduate students interested in urban studies, business, work and labour, education and employment, ethnography, music, and cultural studies.

The only book that looks at the business of concert promotion. Concerts are part art, part party—and a big part business. This Business of Concert Promotion and Touring is the first to focus on that all-important business aspect, from creating a show, to selling a show, to organizing the show, to staging the show. Working with venues, personnel, booking, promoting, marketing, publicity, public relations, financial management, and much more are covered in this indispensable one-volume resource. And the ideas and techniques explained here can be used for every type of concert promotion, including college shows, artist showcases, club gigs, as well as major events handled by local promoters, nationwide promoters, and worldwide promoters. Concert promoters and tour managers at every level need to know This Business of Concert Promotion and Touring