Whether you're a guitarist trying to make your guitar go gneee flumph and oo-ee-oo-ee, a bass player who's fed up with the same old sounds or a bedroom techno overlord working on the number one hits of the future, technology can help turn your ideas into reality. get - samplers, MIDI, guitar equipment and even things for drummers - and explains what they do, who's using them, and what you should look for when you go shopping. It also tells you what to do when technology attacks: why you should always assume things will go spectacularly wrong at the worst possible moment, and what you can do to make sure it doesn't irritate you.
If you're in a band, you need the Internet. Whether it's building a Web site to showcase your music, downloading free drum loops from online sample libraries or just getting into huge sweary fights with complete strangers, the Net is the best thing that's happened to music since Phil Collins stopped touring. everything from how to build a Web site (find a geek and give him beer) to practical advice on making money and staying out of trouble. Detailed advice about what works and what doesn't features, together with some sneaky tips to help you along the way
How do you avoid being ripped off by unscrupulous promoters, or what to do if you really, really want to punch your bass player? That's where this Cut the Crap Guide comes in. Based on real musicians' experiences. it is designed to cover the things you really need to know: how to get gigs, how to get on the radio, how to make money from music, and how to avoid playing in front of three drunks and a murderer on a damp Tuesday in Dunfermline.
In this text, Gary Marshall includes a complete A to Z of the guitar and a comprehensive listing of Web resources and it is packed with diagrams and helpful illustrations.
Making a record used to be simple: you'd start a band, tour for 400 years, and if you were lucky a record company would spot you and pay for some studio time. Now you can make your own records on a budget of almost zero, and it's possible to record a song in the morning and sell it in the afternoon. you're planning to burn a few CDs to sell at gigs or making a triple vinyl concept album about electric elves that frolic in the magic forest. It covers the basics (what to record, where to record it, how to pay for it) and looks at everything from home CD burning to commercial pressing plants. You'll find out how to get your record reviewed or played on the radio, how to get it into the shops, and how to make sure you won't end up with a million unsold CDs underneath your bed. The book is also packed with advice from industry insiders - managers, artists and record labels - who have successfully released everything from dance, blues and rock records to compilation CDs.
Have you ever felt stuck or unmotivated about life? Are there things you want to do or dreams you want to achieve, but you don’t know how to get started or how to reach your goals? In Cut the Crap and Feel Amazing, experienced hypnotherapist Ailsa Frank provides you with the knowledge and tools you need to take control of your life and ensure that it follows a more positive direction – the direction in which you want it to go. The techniques described in this book will help you to cut out the negative habits in your life and make improvements where they are needed – work, relationships, health, finance, finding love and more. Making regular small changes to your mindset will enable you to make bigger changes in your life. You don’t need to know your whole life plan, you just need to focus on one small thing to get yourself started. Cut the Crap and Feel Amazing offers a helping hand to get you on track and keep your life moving forwards in a positive direction.
“An ambitious look at the last days of the Clash . . . as much a political history of the 1980s as it is a look at an influential band in its final years.”—Publishers Weekly The Clash was a paradox of revolutionary conviction, musical ambition, and commercial drive. We Are The Clash is a gripping tale of the band’s struggle to reinvent itself as George Orwell’s 1984 loomed. This bold campaign crashed headlong into a wall of internal contradictions and rising right-wing power. While the world teetered on the edge of the nuclear abyss, British miners waged a life-or-death strike, and tens of thousands died from US guns in Central America, Clash cofounders Joe Strummer, Paul Simonon, and Bernard Rhodes waged a desperate last stand after ejecting guitarist Mick Jones and drummer Topper Headon. The band shattered just as its controversial final album, Cut the Crap, was emerging. Andersen and Heibutzki weave together extensive archival research and in-depth original interviews with virtually all of the key players involved to tell a moving story of idealism undone by human frailty amid a climatic turning point for our world. “The Clash’s final chapter, after guitarist Mick Jones’ 1983 departure, has largely been forgotten—until this book, in which authors Mark Andersen and Ralph Heibutzki argue that the punk pioneers were still creating vital music to the very end.”—Rolling Stone, an RS Picks/New Books “Focuses on a very different moment in the band’s history: the point at which the group splintered in the early 1980s, and its members grappled with an onset of reactionary governments around the world.”—Vol. 1 Brooklyn “One of the most rewarding music books you’ll come across this year.”—Johns Hopkins Magazine
This first definitive reference resource to take a broad interdisciplinary approach to the nexus between music and the social and behavioral sciences examines how music affects human beings and their interactions in and with the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields such as anthropology, communications, psychology, linguistics, sociology, sports, political science and economics, as well as biology and the health sciences. Features: Approximately 450 articles, arranged in A-to-Z fashion and richly illustrated with photographs, provide the social and behavioral context for examining the importance of music in society. Entries are authored and signed by experts in the field and conclude with references and further readings, as well as cross references to related entries. A Reader's Guide groups related entries by broad topic areas and themes, making it easy for readers to quickly identify related entries. A Chronology of Music places material into historical context; a Glossary defines key terms from the field; and a Resource Guide provides lists of books, academic journals, websites and cross-references. The multimedia digital edition is enhanced with video and audio clips and features strong search-and-browse capabilities through the electronic Reader’s Guide, detailed index, and cross references. Music in the Social and Behavioral Sciences, available in both multimedia digital and print formats, is a must-have reference for music and social science library collections.
