Leaving the building: the lucrative afterlife of music estates
"When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again ... Drawing on interviews...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Omnibus Press
[2021]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again ... Drawing on interviews with those running music estates as well as music lawyers, record company executives, and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death"--Publisher marketing |
| Beschreibung: | viii, 502 Seiten 24 cm |
| ISBN: | 9781913172107 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents Prologue 1 1 4 The Cornerstones of the Modem Estates Business The music estate follows the lead of the art estate 9-18; The Forbes Posthumous Rich Lists 19-29 2 The Inescapable Importance of the Will 30 The musician’s will in motion 33-34; An unequal split between heirs 34; A multitude of conflicting wills 34-37; The perfectly planned will 37-38; Parents are cut out and back in again 38-39; The no-contest clause 39-40; A complex series of companies and trusts 40-42; No will for reli gious reasons 42-43; Two wills and significant debt 43-44; Charitable trusts and the children 44—46 3 Controlling Interests 47 Trying to make the dysfunctional functional 48—49; The next generation 49-50; The “second marriage tinderbox” 50-54; Cutting a parent out of an estate 54-55; The DNA tests 55-57; The estate that “disappeared” 57-61; The war with the foundation 61-62; When a bank runs the estate 62-65; The producer takes the estate away from the family 65-68; The living estate 68-73; The family fight to take the estate back from the business manager 73-74; The estate by proxy 74-76; When a wife is not a wife and a trust is not a trust 76-79; Getting an estate reopened 79-80; Estate apparatus 80-94; When an heir cannot be found 95 4 Creating Posthumous Fame 96 The antecedents of posthumous fame 97; Down to the crossroads 98-99; The elegant renaissance of Nick Drake 99-104; Eva Cassidy 105-109; The obscure, the unknown, the fading and the disappeared 109-114 5 Annals Mirabilis 115 Unfinished sympathies 120-124; Having trusted collaborators complete an album 124; Finishing school
125-134; Vaulting ambition 134—139; Taking stock 139-145; Putting together archive packages and ideas 145-147; The professional archivist 147-150; “The banality of the familiar” 150-151; Making sense of the audio archives 151-154; Archives beyond the music 154—158; Living artists preparing for their estates and archives 158-164; Streaming lowers the bar 164—165 vu
Leaving the Building 6 Brand of Gold 166 The holy trinity 169-172; Trade mission 172-177; Brand aid 177-186; The bland leading the brand 187-190; Policing bootlegs and brand infringements 190-197 7 The Future of the Past 198 Keeping Elvis’s home open for the ages 200-202; Stepping into Prince’s private world 203-205; Seeing how Hendrix lived in London 206-207; Property management 207-208; The museum man 209-213; The academic and institutional archive 213-215; The small and the fan-run 215-216; “A distilled narrative within a finite space” 217-220; “Scared shitless and shaking” 220-228 8 Corporation Death 229 Real estate 230-239; Part and partial 239-244; The rise of the specialist 244—253; Management and lawyers 253-259 9 Restoration Artists 260 Old and new side by side 263-267; The data express 267-269; Social anxiety 269-273; The biopic 273-276; Holly-wouldn’t 276-282; The documentary 282-287; The musical 287-291; The anniversary 292-297; Beyond the record 297-314 10 Move It 315 US rights termination 317-324; Side note 324—325; Catalogues fall into the public domain 325-331; Sale on buy 331-336; Fight for your rights 337-342 11 From Deification toDémonisation 343 The family fights 345-354; Historic sexual abuse claims 354-363; Literally cashing in 364-368; Litigation 368-372; Catalogue jam 372-373; The blood oath revoked 373-374; The family sues over the death of a musician 374; The tainted and unwanted estate 374—377 12 Virtual Signalling 378 The dear departed duet 381-383; The long history of the holographic resurrection 383-385; Holographic content 385-387; We have the
tech nology 388-392; The cost of creating a hologram and getting it on the road 392-398; New income, new audiences? 398-401; The real unreal 401-403; The one-off spectacular or the ava-tour? 403-405; Yes, no, maybe... the estates still to be sold on the idea of the hologram tour 405-408; Sonic boom and stage fright 408-412; The critical brickbats 412-416; Where there’s a will there’s no way 416-419; Beyond holograms 419-428 Dramatis Personae 429 Epilogue 432 Acknowledgements 434 Notes 436 Index 489 viti
|
| adam_txt |
Contents Prologue 1 1 4 The Cornerstones of the Modem Estates Business The music estate follows the lead of the art estate 9-18; The Forbes Posthumous Rich Lists 19-29 2 The Inescapable Importance of the Will 30 The musician’s will in motion 33-34; An unequal split between heirs 34; A multitude of conflicting wills 34-37; The perfectly planned will 37-38; Parents are cut out and back in again 38-39; The no-contest clause 39-40; A complex series of companies and trusts 40-42; No will for reli gious reasons 42-43; Two wills and significant debt 43-44; Charitable trusts and the children 44—46 3 Controlling Interests 47 Trying to make the dysfunctional functional 48—49; The next generation 49-50; The “second marriage tinderbox” 50-54; Cutting a parent out of an estate 54-55; The DNA tests 55-57; The estate that “disappeared” 57-61; The war with the foundation 61-62; When a bank runs the estate 62-65; The producer takes the estate away from the family 65-68; The living estate 68-73; The family fight to take the estate back from the business manager 73-74; The estate by proxy 74-76; When a wife is not a wife and a trust is not a trust 76-79; Getting an estate reopened 79-80; Estate apparatus 80-94; When an heir cannot be found 95 4 Creating Posthumous Fame 96 The antecedents of posthumous fame 97; Down to the crossroads 98-99; The elegant renaissance of Nick Drake 99-104; Eva Cassidy 105-109; The obscure, the unknown, the fading and the disappeared 109-114 5 Annals Mirabilis 115 Unfinished sympathies 120-124; Having trusted collaborators complete an album 124; Finishing school
125-134; Vaulting ambition 134—139; Taking stock 139-145; Putting together archive packages and ideas 145-147; The professional archivist 147-150; “The banality of the familiar” 150-151; Making sense of the audio archives 151-154; Archives beyond the music 154—158; Living artists preparing for their estates and archives 158-164; Streaming lowers the bar 164—165 vu
Leaving the Building 6 Brand of Gold 166 The holy trinity 169-172; Trade mission 172-177; Brand aid 177-186; The bland leading the brand 187-190; Policing bootlegs and brand infringements 190-197 7 The Future of the Past 198 Keeping Elvis’s home open for the ages 200-202; Stepping into Prince’s private world 203-205; Seeing how Hendrix lived in London 206-207; Property management 207-208; The museum man 209-213; The academic and institutional archive 213-215; The small and the fan-run 215-216; “A distilled narrative within a finite space” 217-220; “Scared shitless and shaking” 220-228 8 Corporation Death 229 Real estate 230-239; Part and partial 239-244; The rise of the specialist 244—253; Management and lawyers 253-259 9 Restoration Artists 260 Old and new side by side 263-267; The data express 267-269; Social anxiety 269-273; The biopic 273-276; Holly-wouldn’t 276-282; The documentary 282-287; The musical 287-291; The anniversary 292-297; Beyond the record 297-314 10 Move It 315 US rights termination 317-324; Side note 324—325; Catalogues fall into the public domain 325-331; Sale on buy 331-336; Fight for your rights 337-342 11 From Deification toDémonisation 343 The family fights 345-354; Historic sexual abuse claims 354-363; Literally cashing in 364-368; Litigation 368-372; Catalogue jam 372-373; The blood oath revoked 373-374; The family sues over the death of a musician 374; The tainted and unwanted estate 374—377 12 Virtual Signalling 378 The dear departed duet 381-383; The long history of the holographic resurrection 383-385; Holographic content 385-387; We have the
tech nology 388-392; The cost of creating a hologram and getting it on the road 392-398; New income, new audiences? 398-401; The real unreal 401-403; The one-off spectacular or the ava-tour? 403-405; Yes, no, maybe. the estates still to be sold on the idea of the hologram tour 405-408; Sonic boom and stage fright 408-412; The critical brickbats 412-416; Where there’s a will there’s no way 416-419; Beyond holograms 419-428 Dramatis Personae 429 Epilogue 432 Acknowledgements 434 Notes 436 Index 489 viti |
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| illustrated | Not Illustrated |
| index_date | 2024-07-03T18:45:21Z |
| indexdate | 2024-07-10T09:17:41Z |
| institution | BVB |
| isbn | 9781913172107 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033014631 |
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| physical | viii, 502 Seiten 24 cm |
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| publisher | Omnibus Press |
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| spelling | Forde, Eamonn Verfasser (DE-588)1244869252 aut Leaving the building the lucrative afterlife of music estates Eamonn Forde London Omnibus Press [2021] © 2021 viii, 502 Seiten 24 cm txt rdacontent n rdamedia nc rdacarrier "When a musician dies, it is rarely the end of their story. While death can propel megastars to even further success, artists overlooked in their lifetime might also find a new type of fame. But a badly timed move or the wrong deal can see the artist die all over again ... Drawing on interviews with those running music estates as well as music lawyers, record company executives, and archivists, Leaving the Building reveals how the music industry is constantly striving to perfect the business of death"--Publisher marketing Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf Musiker (DE-588)4040841-3 gnd rswk-swf Fortleben (DE-588)4336557-7 gnd rswk-swf Musicians / Death / Economic aspects Rock musicians / Death / Economic aspects Estates (Law) Inheritance and succession Music trade / Economic aspects Music publicity / Economic aspects Popular music / Economic aspects Popular music / History and criticism Musiker (DE-588)4040841-3 s Fortleben (DE-588)4336557-7 s Musikwirtschaft (DE-588)4268614-3 s DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033014631&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Forde, Eamonn Leaving the building the lucrative afterlife of music estates Musikwirtschaft (DE-588)4268614-3 gnd Musiker (DE-588)4040841-3 gnd Fortleben (DE-588)4336557-7 gnd |
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| title | Leaving the building the lucrative afterlife of music estates |
| title_auth | Leaving the building the lucrative afterlife of music estates |
| title_exact_search | Leaving the building the lucrative afterlife of music estates |
| title_exact_search_txtP | Leaving the building the lucrative afterlife of music estates |
| title_full | Leaving the building the lucrative afterlife of music estates Eamonn Forde |
| title_fullStr | Leaving the building the lucrative afterlife of music estates Eamonn Forde |
| title_full_unstemmed | Leaving the building the lucrative afterlife of music estates Eamonn Forde |
| title_short | Leaving the building |
| title_sort | leaving the building the lucrative afterlife of music estates |
| title_sub | the lucrative afterlife of music estates |
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| topic_facet | Musikwirtschaft Musiker Fortleben |
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