I’ve spent my life in music and the creative industries, having worked in major record companies in London (among other places), and have loved every minute of it. Over the past 20 years, I've also studied it academically and run courses on entertainment management in colleges and Universities. It is rewarding to work with people who want to make a career in the creative industries. A colleague once said to me, “If you can give me a graduate who can have a conversation with a Chief Financial Officer and not freak them out, and then have a conversation with an artist and not freak them out, then you will be doing the world a great favor, because this is comparatively rare.”
I loved this book because it vividly immersed me inside an animation studio (Pixar) and showed how they maximized creativity.
For example, it showed how honest, direct communication in a creative team and a culture of ‘the best idea wins’ can transform a movie. It’s written by a very experienced practitioner and is a practical book, not a theoretical book.
Part autobiography, part history of Pixar, part business book, Creativity Inc is a stimulating, feel-good, insightful and highly inspirational collection of lessons in creativity and business from the president of Pixar and Disney Animation, Ed Catmull.
'Just might be the best business book ever written.' -- Forbes Magazine 'Great book. Wish I could give it more than 5 Stars' -- ***** Reader review 'Incredibly inspirational' -- ***** Reader review 'Honestly, one of the best books I've read in a long time' -- ***** Reader review 'Read it and read it again, then read it again and then again' -- *****…
I loved this book because it shows how economic forces are pushing us in the direction of a ‘winner takes all’ economy, both in the creative industries and more generally.
The scalability of digital creations, the impact of algorithms, bandwagon effects, network effects, and economies of scale are resulting in 1 percent of artists owning the majority of the pie. This has big implications for those working in the creative industries.
Alan Krueger, a former chairman of the president's Council of Economic Advisers, uses the music industry, from superstar artists to music executives, from managers to promoters, as a way in to explain key principles of economics, and the forces shaping our economic lives.
The music industry is a leading indicator of today's economy; it is among the first to be disrupted by the latest wave of technology, and examining the ins and outs of how musicians create and sell new songs and plan concert tours offers valuable lessons for what is in store for businesses and employees in other industries…
I loved this book because it takes three creative industries–television production, record companies, and magazine journalism–and interviews workers about what makes them feel bad about working in the industry and what makes them feel good. ‘Good creative work’ makes us feel motivated, fulfilled, and self-realized. Bad work makes us experience things like powerlessness and self-estrangement.
This is really important, given the growing importance of wellness and mental health in the workplace. Although it was published in 2011 for a largely academic audience, it still has profound things to say about creating a workplace that is positive and not psychologically corrosive.
What is it like to work in the media? Are media jobs more 'creative' than those in other sectors? To answer these questions, this book explores the creative industries, using a combination of original research and a synthesis of existing studies.
Through its close analysis of key issues - such as tensions between commerce and creativity, the conditions and experiences of workers, alienation, autonomy, self-realisation, emotional and affective labour, self-exploitation, and how possible it might be to produce 'good work' - Creative Labour makes a major contribution to our understanding of the media, of work, and of social and cultural…
I loved this fictitious expose of the New York fashion industry because it asks what we would sacrifice for ‘a job a million girls/boys would die for?’ Sometimes, in the creative industries, power can be concentrated in the hands of people for whom ‘the meaning of their life’ is about a creative project being successful.
This can lead them to make the lives of people around them miserable. How much abuse, poor pay, lack of credit, ‘self-exploitation’, being absent for loved ones, how much of this would you tolerate? What if you had to sell your soul to fulfill your dream? This might seem academic, but for many in the creative industries, it has been painfully real.
High fashion, low cunning - and the boss from hell
When Andrea first sets foot in the plush Manhattan offices of Runway she knows nothing. She's never heard of the world's most fashionable magazine, or its feared and fawned-over editor, Miranda Priestly - her new boss.
A year later, she knows altogether too much:
That it's a sacking offence to wear anything lower than a three-inch heel to work.
That you can charge cars, manicures, anything at all to the Runway account, but you must never, ever, leave your desk, or let Miranda's coffee get cold.
Some autobiographies of eminent arts and entertainment managers are very gracious and discreet. This is not one of them. Joseph Volpe is the former General Manager of New York’s Metropolitan Opera House, and I just love this book’s jaw-dropping honesty and candor. He famously fired the tempestuous soprano Kathleen Battle, and this book recounts in detail the story behind her dismissal (among many other dramas).
How much prima donna behavior should we tolerate when managing creative artists? For Volpe, not that much! But he did have the prestige of a world famous opera house behind him.
The Toughest Show on Earth is the ultimate behind-the-scenes chronicle of the divas and the dramas of New York’s Metropolitan Opera House, by the remarkable man who rose from apprentice carpenter to general manager.
Joseph Volpe gives us an anecdote-filled tour of more than four decades at the Met, an institution full of vast egos and complicated politics. With stunning candor, he writes about the general managers he worked under, his embattled rise to the top, the maneuverings of the blue-chip board, and his masterful approach to making a family of such artist-stars as Luciano Pavarotti, Placido Domingo, Teresa Stratas,…
Just like Shepherd believes that online bookstores are different from selling toothpaste and powdered gravy mix, my book believes ‘there is an art to managing art’—that working in the creative industries is different from running a shampoo business or a sand mining company.
The book looks at idiosyncrasies of arts and entertainment, and what this means for being a manager working in this environment. This includes working with artists, forming creative teams, and working in large creative organizations like record labels or fashion labels. It looks at the human dimension of management (i.e., things like organizational culture, motivation, leadership, and managing creative conflict). It introduces academic concepts and research findings (it’s used in Universities like Belmont in Nashville), but it’s also written for smart general readers.
