All recordings document life, arising from a specific time and place, and if that place is artificial, the results will be as well. Culled from a lifetime of learning through failure and designed to provoke thought and inspiration for artists in every medium, How Music Dies (or Lives) is a virtual how-to manual for those on a quest for authenticity in an age of airbrushed and Auto-Tuned so-called “artists.” Author and Grammy-winning producer Ian Brennan chronicles his own journeys to find new and ancient sounds, textured voices, and nonmalleable songs, and he presents readers with an intricate look at our technological society. His concise prose covers topics such as: •The damages of colonization in generalizing distinctive variations •The need for imperfection •The gaps between manufacturing and invention •The saturation of music in everyday life This guide serves those who ask themselves, “What’s wrong with our culture?” Along with possible answers are lessons in using the microphone as a telescope, hearing the earth as an echo, and appreciating the value of democratizing voices. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
As prevalent as TV is in our lives, most of us have no concept of what goes into creating a show, getting it on the air, and keeping it on. Perhaps we assume that the people in charge simply decide what amuses them at the moment, make those shows, stick them on, and wait to see if the public responds. Or maybe they just throw darts at a board. The truth, as with most things, is more complicated. In “Hello,” Lied the Agent, Ian Gurvitz has produced a corrosively funny insider’s look at what being a television writer is really all about. In his personal journal he details two years in the life of a Hollywood television writer—the dizzying ups and downs, the rewrites, the pitch meetings, the table readings, the studios and networks and execs in a riveting expose of the business. “It occurred to me that keeping a journal while I was going through the development process might illuminate a side of the business few people get to see, and give them a behind-the-scenes (God, I hate that overused ET phrase) look at the day-to-day experience of being a writer in Hollywood. OK, that’s partly bullshit. I’m not that altruistic. The truth is, after twenty years in the trenches, I found myself bitching about many aspects of the business and needed an outlet, which left either writing a book, doing standup, seeing my shrink more often or suffering in silence; but since I don’t have the balls to try stand-up, there’s no reason to waste a shrink visit bitching about the business when I’ve got more seriously fucked-up issues to deal with, and there’s no money in suffering in silence—that left book. Here it is...” Think you’ve got a great idea for a TV show? Read this book—your view of your favorite television show will never be the same.
While Mr. Schuester most of the members of the Glee Club plan to help kids in summer music camp, Rachel has some unusual experiences of her own fulfilling her ambitions to be a star, but she's not sure if they're real or the result of a dream.
Popular culture has woven itself into the social fabric of our lives, penetrating people’s homes and haunting their psyches through images and earworm hooks. Justice, at most levels, is something the average citizen may have little influence upon, leaving us feeling helpless and complacent. But pop music is a neglected arena where concrete change can occur—by exercising active and thoughtful choices to reject the low-hanging, omnipresent corporate fruit, we begin to rebalance the world, one engaged listener at a time. Silenced by Sound: The Music Meritocracy Myth is a powerful exploration of the challenges facing art, music, and media in the digital era. With his fifth book, producer, activist, and author Ian Brennan delves deep into his personal story to address the inequity of distribution in the arts globally. Brennan challenges music industry tycoons by skillfully demonstrating that there are millions of talented people around the world far more gifted than the superstars for whom billions of dollars are spent to promote the delusion that they have been blessed with unique genius. We are invited to accompany the author on his travels, finding and recording music from some of the world’s most marginalized peoples. In the breathtaking range of this book, our preconceived notions of art are challenged by musicians from South Sudan to Kosovo, as Brennan lucidly details his experiences recording music by the Tanzania Albinism Collective, the Zomba Prison Project, a “witch camp” in Ghana, the Vietnamese war veterans of Hanoi Masters, the Malawi Mouse Boys, the Canary Island whistlers, genocide survivors in both Cambodia and Rwanda, and more. Silenced by Sound is defined by muscular, terse, and poetic verse, and a nonlinear format rife with how-to tips and anecdotes. The narrative is driven and made corporeal via the author’s ongoing field-recording chronicles, his memoir-like reveries, and the striking photographs that accompany these projects. After reading it, you’ll never hear quite the same again.
Grammy-winning music producer, Ian Brennan’s seventh book, Muse-Sick: a music manifesto in fifty-nine notes, acts as a primer on how mass production and commercialization have corrupted the arts. Broken down into a series of core points and actions plans, Muse-Sick is a concise and affordable pocket primer follow-up to Brennan’s two previous music missives, How Music Dies (or Lives): Field Recording and the Battle for Democracy in the arts and Silenced by Sound: The Music Meritocracy Myth. Popular culture has woven itself into the social fabric of our lives, penetrating people’s homes and haunting their psyche through images and earworm hooks. Justice, at most levels, is something that the average citizen might have little influence upon leaving us feeling helpless and complacent. But pop music is a neglected arena where some change can concretely occur—by exercising active and thoughtful choices to reject the low-hanging, omnipresent commercialized and pre-packaged fruit, we begin to re-balance the world, one engaged listener at a time. In fifty-nine concise and clear points, Brennan reveals how corporate media has constricted local culture and individual creativity, leading to a lack of diversity within “diversity.” Muse-Sick’s narrative portions are driven and made corporeal via the author’s ongoing field-recording chronicles with widely disparate groups, such as the Sheltered Workshop Singers. Marilena Umuhoza Delli’s striking photographs accompany and bring to life each tale. As John Waters says: “I didn’t think it was possible to write a shocking book about music anymore. But Brennan has.”
All recordings document life, arising from a specific time and place, and if that place is artificial, the results will be as well. Culled from a lifetime of learning through failure and designed to provoke thought and inspiration for artists in every medium, How Music Dies (or Lives) is a virtual how-to manual for those on a quest for authenticity in an age of airbrushed and Auto-Tuned so-called “artists.” Author and Grammy-winning producer Ian Brennan chronicles his own journeys to find new and ancient sounds, textured voices, and nonmalleable songs, and he presents readers with an intricate look at our technological society. His concise prose covers topics such as: •The damages of colonization in generalizing distinctive variations •The need for imperfection •The gaps between manufacturing and invention •The saturation of music in everyday life This guide serves those who ask themselves, “What’s wrong with our culture?” Along with possible answers are lessons in using the microphone as a telescope, hearing the earth as an echo, and appreciating the value of democratizing voices. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
This is the first book-length study to systematically and theoretically analyse the use and representation of individual body parts in Gothic fiction. Moving between filmic and literary texts and across the body—from the brain, hair and teeth, to hands, skin and the stomach—this book engages in unique readings by foregrounding a diversity of global representations. Building on scholarly work on the ‘Gothic body’ and ‘body horror’, Gothic Dissections in Film and Literature dissects the individual features that comprise the physical human corporeal form in its different functions. This very original and accessible study, which will appeal to a broad range of readers interested in the Gothic, centralises the use (and abuse) of limbs, organs, bones and appendages. It presents a set of unique global examinations; from Brazil, France and South Korea to name a few; that address the materiality of the Gothic body in depth in texts ranging from the nineteenth century to the present; from Nikolai Gogol, Edgar Allan Poe, Roald Dahl and Chuck Palahniuk, to David Cronenberg, Freddy Krueger and The Greasy Strangler.
divdivIn this provocative book, two leading law professors challenge the existing campaign reform agenda and present a new initiative that avoids the mistakes of the past. Bruce Ackerman and Ian Ayres build on the example of the secret ballot and propose a system of “secret donation booths” for campaign contributions. They unveil a plan in which the government provides each voter with a special credit card account containing fifty “Patriot dollars” for presidential elections. To use this money, citizens go to their local ATM machine and anonymously send their Patriot dollars to their favorite candidates or political organizations. Americans are free to make additional contributions, but they must also give these gifts anonymously. Because candidates cannot identify who provided the funds, it will be much harder for big contributors to buy political influence. And the need for politicians to compete for the Patriot dollars will give much more power to the people. Ackerman and Ayres work out the operating details of their plan, anticipate problems, design safeguards, suggest overseers, and show how their proposals satisfy the most stringent constitutional requirements. They conclude with a model statute that could serve as the basis of a serious congressional effort to restore Americans’ faith in democratic politics./DIV/DIV
Missing Music: Voices from Where the Dirt Roads End details Grammy-winning music producer and author Ian Brennan’s ongoing quest to provide musical platforms for underrepresented nations and populations around the world. In a compact and quick-read format, Missing Music collects the latest narratives from Brennan’s field-recording treks. This edition features a greater emphasis on storytelling and an even greater abundance of photos from his wife, Italian-Rwandan photographer/filmmaker Marilena Umuhoza Delli. Together, they meet the elderly shamans of the world’s most musical language, Taa, a tongue that sadly is dying, with fewer than 2,500 speakers left. The duo traveled the most remote roads of Botswana to find the formally nomadic people now relegated to small desert towns. In Azerbaijan, Brennan and Delli ascended to the mountainous Iranian border to record centenarians in scattered villages of the Talysh minority, where the world’s oldest man reportedly reached the age of 168. The result is the only record ever released to feature the voices of singers over one-hundred years of age. Among other tales, Brennan also updates the saga of the Sheltered Workshop Singers following COVID, including the tragic deterioration of his sister, Jane. Arising from the more than forty records that Brennan has produced over the past decade from underrepresented nations such as Comoros, Djibouti, Romania, South Sudan, Suriname, and Cambodia, Missing Music serves as the newest suite in the multiverse symphony of the world’s most ignored corners—the places where countries expire and the “forgotten” live.
Economic analysis rarely appears on the judicial horizon in intellectual property litigation. In competition cases, by contrast, economists are familiar figures in the courtroom and the language of economics is scattered throughout the judgments of even the highest courts. One might expect, therefore, that refusals to license intellectual property would generate the same fruitful symbiosis between law and economics when those refusals surface in competition proceedings. This however, has not been how the law on this subject has developed in most jurisdictions. Courts and enforcement agencies faced with a unilateral refusal to license have instead tended to retreat into sketchily articulated black letter rules and presumptions which then have to be fenced off from the rest of competition law by economically irrelevant qualifications and distinctions based on private law categorisations of, and rationales for, individual intellectual property rights. This bypassing of case-by-case analysis in favour of more traditional modes of legal reasoning is not entirely the fault of lawyers. Economists have contributed to this state of affairs by urging judges and regulators to convert empirically undernourished theories about the proper role of intellectual property in a market economy into rules of law and evidentiary presumptions intended to be binding in future cases. How this came about and what it means for the future of effective competition enforcement globally are the twin concerns of this book.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.