Explains what happened to music—for both artists and fans—when music went online. Playing to the Crowd explores and explains how the rise of digital communication platforms has transformed artist-fan relationships into something closer to friendship or family. Through in-depth interviews with musicians such as Billy Bragg and Richie Hawtin, as well as members of the Cure, UB40, and Throwing Muses, Baym reveals how new media has facilitated these connections through the active, and often required, participation of the artists and their devoted, digital fan base. Before the rise of social sharing and user-generated content, fans were mostly seen as an undifferentiated and unidentifiable mass, often mediated through record labels and the press. However, in today’s networked era, musicians and fans have built more active relationships through social media, fan sites, and artist sites, giving fans a new sense of intimacy and offering artists unparalleled information about their audiences. However, this comes at a price. For audiences, meeting their heroes can kill the mystique. And for artists, maintaining active relationships with so many people can be both personally and financially draining, as well as extremely labor intensive. Drawing on her own rich history as an active and deeply connected music fan, Baym offers an entirely new approach to media culture, arguing that the work musicians put in to create and maintain these intimate relationships reflect the demands of the gig economy, one which requires resources and strategies that we must all come to recognize and appreciate.

The first step towards experiencing the wide array of resources available to musicians on the Internet: learn how to connect to and use the Internet ; Discover music-related web sites and information sources ; Learn how effectively promote yourself and your work online ; Build your own web site.

The book that started the Techlash. A stinging polemic that traces the destructive monopolization of the Internet by Google, Facebook and Amazon, and that proposes a new future for musicians, journalists, authors and filmmakers in the digital age. Move Fast and Break Things is the riveting account of a small group of libertarian entrepreneurs who in the 1990s began to hijack the original decentralized vision of the Internet, in the process creating three monopoly firms -- Facebook, Amazon, and Google -- that now determine the future of the music, film, television, publishing and news industries. Jonathan Taplin offers a succinct and powerful history of how online life began to be shaped around the values of the men who founded these companies, including Peter Thiel and Larry Page: overlooking piracy of books, music, and film while hiding behind opaque business practices and subordinating the privacy of individual users in order to create the surveillance-marketing monoculture in which we now live. The enormous profits that have come with this concentration of power tell their own story. Since 2001, newspaper and music revenues have fallen by 70 percent; book publishing, film, and television profits have also fallen dramatically. Revenues at Google in this same period grew from $400 million to $74.5 billion. Today, Google's YouTube controls 60 percent of all streaming-audio business but pay for only 11 percent of the total streaming-audio revenues artists receive. More creative content is being consumed than ever before, but less revenue is flowing to the creators and owners of that content. The stakes here go far beyond the livelihood of any one musician or journalist. As Taplin observes, the fact that more and more Americans receive their news, as well as music and other forms of entertainment, from a small group of companies poses a real threat to democracy. Move Fast and Break Things offers a vital, forward-thinking prescription for how artists can reclaim their audiences using knowledge of the past and a determination to work together. Using his own half-century career as a music and film producer and early pioneer of streaming video online, Taplin offers new ways to think about the design of the World Wide Web and specifically the way we live with the firms that dominate it.

NEW YORK TIMES BESTSELLER • David Byrne’s incisive and enthusiastic look at the musical art form, from its very inceptions to the influences that shape it, whether acoustical, economic, social, or technological—now updated with a new chapter on digital curation. “How Music Works is a buoyant hybrid of social history, anthropological survey, autobiography, personal philosophy, and business manual”—The Boston Globe Utilizing his incomparable career and inspired collaborations with Talking Heads, Brian Eno, and many others, David Byrne taps deeply into his lifetime of knowledge to explore the panoptic elements of music, how it shapes the human experience, and reveals the impetus behind how we create, consume, distribute, and enjoy the songs, symphonies, and rhythms that provide the backbeat of life. Byrne’s magnum opus uncovers thrilling realizations about the redemptive liberation that music brings us all.

A national radio host and critically acclaimed music journalist shows how the Internet revolutionized the music industry--and turned big record labels on their ear. b&w photographs.

Sonic Boom is a fascinating narrative of the controversy that's sending shock waves through the music industry. It reveals how even as the star-maker machinery of record companies remains in the hands of the old guard, innovators are finding ways to route around it. Part industry exposé and part music history, Sonic Boom presents a candid and entertaining account of how digital compression technologies such as MP3 have brought out the best and worst in artists and consumers alike, and how the end result can be nothing less than a cultural and economic transformation. Peopled with a sensational cast of characters that includes rock stars, music moguls, teenagers, and Internet entrepreneurs, Sonic Boom exposes the recording industry's plight as a fascinating microcosm of the vast cultural, ethical, and legal issues that all industries face in the information age.

The Digital Musician explores what it means to be a musician in the digital age. It examines musical skills, cultural awareness and artistic identity through the prism of recent technological innovations. New technologies, and especially the new digital technologies, mean that anyone can produce music without musical training. This book asks why make music? what music to make? and how do we know what is good?

Today’s Comprehensive and Authoritative Guide to Augmented Reality By overlaying computer-generated information on the real world, augmented reality (AR) amplifies human perception and cognition in remarkable ways. Working in this fast-growing field requires knowledge of multiple disciplines, including computer vision, computer graphics, and human-computer interaction. Augmented Reality: Principles and Practice integrates all this knowledge into a single-source reference, presenting today’s most significant work with scrupulous accuracy. Pioneering researchers Dieter Schmalstieg and Tobias Höllerer carefully balance principles and practice, illuminating AR from technical, methodological, and user perspectives. Coverage includes Displays: head-mounted, handheld, projective, auditory, and haptic Tracking/sensing, including physical principles, sensor fusion, and real-time computer vision Calibration/registration, ensuring repeatable, accurate, coherent behavior Seamless blending of real and virtual objects Visualization to enhance intuitive understanding Interaction–from situated browsing to full 3D interaction Modeling new geometric content Authoring AR presentations and databases Architecting AR systems with real-time, multimedia, and distributed elements This guide is indispensable for anyone interested in AR, including developers, engineers, students, instructors, researchers, and serious hobbyists.

The Most Infamous Studio Session Ever Documented In the summer of 2002, I began to chronicle my Daily events on a Major Label recording session with a bidding-war band, an infamous producer, and a seemingly limitless budget. Every night, after a long session with these crazy characters, I posted up the day's events. The results were spectacular. As Metro reporter Gina Arnold put it, "Mixerman is supposed to be writing about recording techniques, but somehow, through that prism, he has hit upon a gripping story." That's right, it was even mentioned in random newspapers at the time.When I began posting my story, I had an audience of 200. By week 4 that grew to 25,000. And by the last entry, I was posting to the delight of over 150,000 music business professionals around the world. There were discussion threads all over the internet, debating every decision we made along the way. The story went viral before viral was even really a thing. Most people find them sidesplittingly hilarious. Others find them reprehensible, but that too is rather hilarious. The Daily Adventures are also available as an audiobook, which has been produced like an old radio show, with music, foley, sound ƒx, and characters performed by some of the most well-known record producers and engineers of all time.

A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.