Clive Selwood is the man who invented "chart hyping," the man who started the first "hippie" record label, and who pioneered the concept of radio "session" recordings with one of the most successful independent record labels ever. Replacing Des O'Connor as a Butlin Redcoat, falling foul of London gangsters, taking a major record company to the top of the league, getting fired and taking sweet revenge by making its main rival the No.1 singles company—Clive Selwood has had his fingerprints all over the secret machinations of both the UK and international music industries for over four decades. A director of such international record companies as Elektra, UK Records, CBS, and Pye, and creator, with John Peel, of the Dandelion independent label and Strange Fruit Records, Clive Selwood worked with such legendary names as Jim Morrison, Paul Simon, Bruce Springsteen, Barry White, Rod Stewart, Abba, Elton John, and hundreds more. Illustrated with photographs from the author's private collection, this memoir covers every facet of the music business—lawyers, chart fixing, marketing, record production, music festivals, record executives and personalities, artist management, sex, bribery, and the creation of both successful and unsuccessful record companies. Having helped to shape and guide the careers of some of the world's leading recording artists, Clive Selwood chooses to dedicate this fascinating memoir to the millions of "air guitarists" with all the classic moves of their heroes—from Slowhand to Slipknot—but none of their licks, and the countless souls trapped in mundane jobs who dream of the danger and the excitement that the music business would appear to offer.
Clive Selwood is the man who invented "chart hyping," the man who started the first "hippie" record label, and who pioneered the concept of radio "session" recordings with one of the most successful independent record labels ever. Replacing Des O'Connor as a Butlin Redcoat, falling foul of London gangsters, taking a major record company to the top of the league, getting fired and taking sweet revenge by making its main rival the No.1 singles company—Clive Selwood has had his fingerprints all over the secret machinations of both the UK and international music industries for over four decades. A director of such international record companies as Elektra, UK Records, CBS, and Pye, and creator, with John Peel, of the Dandelion independent label and Strange Fruit Records, Clive Selwood worked with such legendary names as Jim Morrison, Paul Simon, Bruce Springsteen, Barry White, Rod Stewart, Abba, Elton John, and hundreds more. Illustrated with photographs from the author's private collection, this memoir covers every facet of the music business—lawyers, chart fixing, marketing, record production, music festivals, record executives and personalities, artist management, sex, bribery, and the creation of both successful and unsuccessful record companies. Having helped to shape and guide the careers of some of the world's leading recording artists, Clive Selwood chooses to dedicate this fascinating memoir to the millions of "air guitarists" with all the classic moves of their heroes—from Slowhand to Slipknot—but none of their licks, and the countless souls trapped in mundane jobs who dream of the danger and the excitement that the music business would appear to offer.
The Role of Today’s Museum provides a thorough investigation of what museums do and why. Arguing that museums are multifunctional institutions, the book examines the consequences of this for the services that museums provide, the publics to whom they are provided and the providers themselves. Adopting a wide perspective on understandings of the roles of museums and considering the different environments within which museums operate, Gray and McCall provide a new perspective on how transformations, as well as the gaps between intended policies and the actual work that is undertaken within museums, can be both identified and understood. By differentiating between social, economic and political visions and expectations of museums, the analysis in this book allows for a fuller understanding of what these organisations do and provide for their societies and the struggles and negotiations that surround their existence. The Role of Today’s Museum takes a critical, interdisciplinary approach to studying museums and museum policy. As a result, the book will be of interest to academics and students engaged in the study of museums, cultural policy, social policy, cultural sociology, public policy and cultural and political economy. Highlighting the gaps that exist between policy ideals and museum practices, the book also provides valuable insights to policy-makers and practitioners.
Using the example of New Walk Museum, Leicester, and its collections, the complexity, multi-causality, and reasons for change in museums are examined and explained. The 170 years history of New Walk provides an original basis and innovative approach to be adopted towards explaining museum change. The book makes use of original interview and archive material to examine how and why social, economic, political, and professional developments affected the work that was undertaken in New Walk. The time-span covered is much longer than is normal for a book on museum history and is longer than for almost all the national museums in the UK, with this allowing for a nuanced understanding of the causes and consequences of museum change over time. The problems and possibilities of undertaking museum history research are also discussed. Detailed examination of the ways in which a variety of societal developments fed into museum change is a key feature of the book. The book is aimed at all those with an interest in understanding how and why change affects museum practice and will be of interest to museum professionals, academics, and students in museum studies, history, politics, and sociology as well to the general museum visitor who would like to discover more about the institutions that they visit.
Interest in the contribution narrative can make across many disciplines has been booming in recent years, but its impact in social work has been limited. It has mainly been used in therapeutic intervention such as narrative therapy, social work education or personal accounts. This is the first book to extend the narrative lens to explore the contribution of narrative to social work values and ethics, social policy and our understanding of the self in social, cultural and political context. The book firstly sets out theoretical concerns and then applies them to specific areas of social work, including child protection, mental health and disability. The author argues that narrative is a richly textured approach to social work that can enhance both theory and practice. As such the book will be of interest to social work students, practitioners and educators, policy makers and those interested in the application of narrative to professional practice.
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