Here, Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like 'The Clicquot Club Eskimons' to the rise of the jingle, from the postwar growth of consumerism, to the more complete fusion of popular music and consumption in the 1980s and after.

iTunes. Spotify. Pandora. With these brief words one can map the landscape of music today, but these aren’t musicians, songs, or anything else actually musical—they are products and brands. In this book, Timothy D. Taylor explores just how pervasively capitalism has shaped music over the last few decades. Examining changes in the production, distribution, and consumption of music, he offers an incisive critique of the music industry’s shift in focus from creativity to profits, as well as stories of those who are laboring to find and make musical meaning in the shadows of the mainstream cultural industries. Taylor explores everything from the branding of musicians to the globalization of music to the emergence of digital technologies in music production and consumption. Drawing on interviews with industry insiders, musicians, and indie label workers, he traces both the constricting forces of bottom-line economics and the revolutionary emergence of the affordable home studio, the global internet, and the mp3 that have shaped music in different ways. A sophisticated analysis of how music is made, repurposed, advertised, sold, pirated, and consumed, Music and Capitalism is a must read for anyone who cares about what they are listening to, how, and why.

Starting with 1964's Goldfinger, every James Bond film has followed the same ritual, and so has its audience: after an exciting action sequence the screen goes black and the viewer spends three long minutes absorbing abstract opening credits and a song that sounds like it wants to return to 1964. In The James Bond Songs authors Adrian Daub and Charles Kronengold use the genre to trace not only a changing cultural landscape, but also evolving conceptions of what a pop song is. They argue that the story of the Bond song is the story of the pop song more generally, and perhaps even the story of its end. Each chapter discusses a particular segment of the Bond canon and contextualizes it in its era's music and culture. But the book also asks how Bond and his music reflected and influenced our feelings about such topics as masculinity, race, money, and aging. Through these individual pieces the book presents the Bond song as the perfect anthem of late capitalism. The Bond songs want to talk about the fulfillment that comes from fast cars, shaken Martinis and mindless sex, but their unstable speakers, subjects, and addressees actually undercut the logic of the lifestyle James Bond is sworn to defend. The book is an invitation to think critically about pop music, about genre, and about the political aspects of popular culture in the twentieth century and beyond.

The first scholarly examination of underground music in the digital age

The experts say that America's best days are behind us, that mediocre long-term economic growth is baked in the cake, and that politically, socially, and racially, the United States will continue to tear itself apart. But David Smick-hedge fund strategist and author of the 2008 bestseller The World Is Curved-argues that the experts are wrong. In recent decades, a Corporate Capitalism of top down mismanagement and backroom deal-making has smothered America's innovative spirit. Policy now favors the big, the corporate, and the status quo at the expense of the small, the inventive, and the entrepreneurial. The result is that working and middle class Americans have seen their incomes flat-lining and their American Dreams slipping away. In response, Smick calls for the great equalizer, a Main Street Capitalism of mass small-business startups and bottom-up innovation, all unfolding on a level playing field. Introducing a fourteen-point plan of bipartisan reforms for unleashing America's creativity and confidence, his forward-thinking book describes a new climate of dynamism where every man and woman is a potential entrepreneur-especially those at the bottom rungs of the economic ladder. Ultimately, Smick argues, economies are more than statistical measurements of supply and demand, economic output, and rates of return. Economies are people-their hopes, fears, dreams, and expectations. The Great Equalizer is a call for a set of new paradigms that inspire and empower average American people to reimagine and reboot their economy. It is a manifesto asserting that, with a new kind of economic policy, America's best days lie ahead.

From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman’s Selling Sounds explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today’s vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast. Selling Sounds uncovers the origins of the culture industry in music and chronicles how music ignited an auditory explosion that penetrated all aspects of society. It maps the growth of the music business across the social landscape—in homes, theaters, department stores, schools—and analyzes the effect of this development on everything from copyright law to the sensory environment. While music came to resemble other consumer goods, its distinct properties as sound ensured that its commercial growth and social impact would remain unique. Today, the music that surrounds us—from iPods to ring tones to Muzak—accompanies us everywhere from airports to grocery stores. The roots of this modern culture lie in the business of popular song, player-pianos, and phonographs of a century ago. Provocative, original, and lucidly written, Selling Sounds reveals the commercial architecture of America’s musical life.

What is Gotcha Capitalism? Coughing up $4 fees for ATM transactions. Iron-clad cell phone contracts you can’t get out of with a crowbar. Paying big bucks for insurance you don’t need on a rental car or forking over $20 a day for supposedly “free” wireless internet. Every day we use banks, cell phones, and credit cards. Every day we book hotels and airline tickets. And every day we get ripped off. How? Here are just a few examples of how big business can get you: • You didn’t fill up the rental car with gas? Gotcha! Gas costs $7 a gallon here. • Your bank balance fell to $999.99 for one day? Gotcha! That’ll be $12. • You miss one payment on that 18-month same-as-cash loan? Gotcha! That’ll be $512 extra. • You’re one day late on that electric bill? Gotcha! All your credit cards now have a 29.99% interest rate. But not for much longer. In Gotcha Capitalism, MSNBC.com’s “Red Tape Chronicles” columnist Bob Sullivan exposes the ways we’re all cheated by big business, and teaches us how to get our money back–proven strategies that can help you save more than $1,000 a year. From the Trade Paperback edition.