Stuart Moss

Following on from The Entertainment Industry: An Introduction, Entertainment Management takes the next step in the development of entertainment as a practice and as an academic subject. Aimed at higher level undergraduates, the book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector. Fields include marketing, P.R., the media, live events, artist management, arts and culture, consultancy and visitor attractions. The book aims to reflect the knowledge students will need for real world of entertainment management such as technical standards, business management, people management, economic aspects and legal issues. Each chapter discusses the background of the discipline, best practice management principles, issues in the wider environment, case studies of real organisations and future trends.

ICrEAM is a database of news articles and discussion features about sectors of the entertainment industry, as well as arts and culture.

Aimed at higher level undergraduates, this book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector.

This chapter gives a commentary of music industry development throughout the 20th and into the 21st Centuries. It details contemporary information about the current state of the music industry in Britain, and provides a narrative, which includes a personal reflection into the macro-environmental conditions that have lead to the present industry conditions. The paper ends with the future and some of the likely influences that will continue to shape the British music industry.

This is a very honest and heartfelt text, you will laugh, you will be shocked, you will hopefully think beyond appearance the next time you see somebody that is overweight, it's true to say that My Banana Journey is a rollercoaster ride.

The only book on contemporary issues which covers the arts and entertainment sectors, from social networking and Twitter, to reality TV and digital rights management.

Since the early 1990s, UK dance music venues have experienced a rollercoaster ride, the commodification of rave and DJ culture took the party from fields and warehouses into the high streets of towns and cities. In Leeds legendary brands such as ‘Back2Basics’ and ‘Speedqueen’ were born. With a proliferation of high profile ‘club’ venues and brands in which DJs played a diet of largely electronic music genres to worshipping crowds, entrepreneurs and imitators emerged, keen on taking a slice of the action. In parallel to this, a new free party and rave movement is blossoming unofficially in ‘venues’ as varied as fields, woodlands and houses in student suburbia. Barnes (2018) highlights the emergence of a new rave scene in 2018, which mirrors the original rave scene of the late 1980s, albeit with certain differences, including the music, which tends to be heavier and more bass orientated, with drum'n'bass, being a popular genre, the drugs are different, with nitrous oxide (NOS or N2O) and Ketamine (Ket) being the popular drugs of choice to match the 140 beats per minute (BPM) music. This presentation, which is based on my own PhD research will explore the development of ‘club’ leisure spaces, and how these have evolved in Leeds over the past 30 years, which there is currently no official collective record of.

This presentation sets the scene for the importance of cross cultural communication from an employability perspective.

Every student is in education to enhance their employability, but what exactly is employability, and how do students begin to recognise the skills that they have, in order to 'sell' these to potential employees? This interactive keynote presentation is designed to get students considering this for themselves, and give them a framework by which they may do this both now and throughout their lives.

Every student is in education to enhance their employability. This presentation is designed to introduce the concept of employability against a backdrop of my expectations of the students at this conference.

This presentation tells the story of dance music leisure spaces in Leeds from the demise of the 1980s rave scene, through the rise and fall of nightclubs and into the rebirth of an unofficial rave party scene in houses in the LS6 area of Leeds.

Students in further and higher education need to recognise the employability skills that they have developed whilst in education and how to present these to potential employers.

This presentation is designed to get students to reflect upon their lives and what has influenced their professional and education journies so far and how their past and present will influence their future employability.

Divided into four parts – concepts, technology, celebrity, and consumption – this book takes a holistic look at the many sides of EDM culture.

Aimed at higher level undergraduates, this book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector.

Aimed at higher level undergraduates, this book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector.

Aimed at higher level undergraduates, this book discusses best practices in the entertainment industry, profiling a different discipline per chapter, each one a branch of entertainment that offers employment opportunities within the sector.

Entertainment Planet is a blog dedicated to issues within the entertainment industry, arts and popular culture.

Students in higher education need to understand how, where, when and which skills they have developed on their university journey, as well as how to showcase these to employers. This presentation is designed to inform and help reflectivity develop amongst audience members, who are encouraged to consider their own development so far throughout their lives and in education.

As the market for tourism and hospitality courses becomes saturated, many universities are diversifying and coming up with innovative ideas for new courses. One such course is “Entertainment Management” at Leeds Metropolitan University. This area is novel in the United Kingdom although it has featured in the United States for the past decade. The following articles offer an insight into curriculum development in “virgin territory” and how the new course team coped with the lack of existing teaching resources; part of their solution was to produce their own resources. Included is an introduction to Entertainment Planet - the course blog - and the ICrEAM (Issues in Contemporary Entertainment and Arts Management) database. This is followed by a description and review, by a student, of how Facebook and Twitter were used on the Entertainment Management degree course. Finally, a review of the book The Entertainment Industry: An Introduction. It is hoped that these articles will encourage discussion and debate on the new subject area of entertainment management.

This paper gives a commentary of music industry development throughout the 20th and into the 21st Centuries. It details contemporary information about the current state of the music industry in Britain, and provides a narrative, which includes a personal reflection into the macro-environmental conditions that have lead to the present industry conditions. The paper ends with the future and some of the likely influences that will continue to shape the British music industry.

This presentation explores the perspectives of both students and staff towards the feedback process in hgiher education institutions. There is a discussion of both formative and summative feedback, although the focus of the presentation is mostly summative. The presentation is based upon a 3 year case study alongside two surveys, one aimed at students and one aimed at staff. The outcomes are largely that despite pressures that staff are overall satisfied with the feedback process, as are students, although student perceptions seem to be more positivie than the results from the case study, which show only a 50% improveent in grades after feedback.

This presentation highlighted the successful implementation of detailed feedback and reflective practice on the BA (Hons) Music Industries Management at Leeds Beckett University.

This presentation highlighted how we have integrated a high level of employability skills development amongst the students studying on the BA (Hons) Music Industries Management at Leeds Beckett University.

This presentation is designed to get delegates to consider the skills that they currently have and the skills that they will need to strategically develop on their life long employability journies.

This presentation introduced the concept of employability to delegates, it got them to consider the skills they had and would use at the conference.

This presentation was a contribution to the International Night Studies Network (INSN) Midterm Conference themed around leisure and nighttime industries. It explaiend how i as a researcher began the now ongoing Leeds Club History Project, which explores the history of 'club' spaces in Leeds (leisure spaces with DJs and dancefloors). The Presentation includes links to the project, so beyond PowerPoint the project web site was then used to demonstrate what information I have gathered so far.

People have danced to music in managed spaces in Leeds since the Victorian era. Initially this was in ballrooms, following this, in dance halls, discos, nightclubs, clubs and now ‘venues’. Up until 1943, people in managed spaces in Leeds danced only to live music, and afterwards still predominantly did until the DJ rose to prominence as a musical entertainer in the 1950s. In the 1960s the DJ rose further in profile, and by the 1970s was the dominant provider of music in the discos and nightclubs of Leeds. House music became popular in Leeds in the late 1980s and with that the rave scene was embraced by young people in the ‘second summer of love’. By the early 1990s, changes in the law made dancing to repetitive beats in a field, illegal and the Leeds rave scene and house music were sent indoors to licensed venues. Nightlife in Leeds exploded as a result and entrepreneurial promoters emerged, keen to capitalise on the scene that they loved. House music has been the dominant form of music played by DJs in the clubs and venues of Leeds ever since. Promoters created branded events that repeated, the so-called recurrent event. Something that I am defining as one that occurs on a scheduled periodic basis, for example a weekly house music event that occurs on a Friday, with a consistent name, brand identity and DJ. Such events are designed to attract repeat attendees by providing a regular format and experience. The 1990s was a golden era for house music in the clubs of Leeds. The 2000s saw house music remain dominant, but other scenes emerge, as New Yorkshire made a challenge. The 2010s saw a professionalism in language and the word ‘venue’ rise in profile over club. However, the 2010s was a decade of difficulty with almost 30% of club venues closing nationally. A bad situation became worse with the Covid-19 pandemic and associated lockdown measures in the 2020s, and conditions have remained challenging ever since. In the preface of this thesis a philosophical discussion will take place as to what a ‘club’ actually is, using a range of viewpoints, from a concept of exclusive membership of an organisation, to a physical space of topophilic place attachment. In Chapter 1, nightlife and how it grew and became recognised as a valid industry sector will be explored. The city of Leeds, UK will also be introduced, from a geographical, economic, and sociopolitical perspective. In Chapter 2, the primary research methods that have used for this thesis alongside their underpinning philosophies will be explained, these are primarily interviews, supported by extensive ethnographic content analysis resulting in Leeds Club History Project. The ethical considerations that have been made in conducting thisresearch will be highlighted. There is also referenced justification for the nontraditional structure of this thesis, due to the integration of primary research and literature throughout the chapters. In Chapter 3, an exploration will take place of how nightlife in Leeds has developed through the ages, giving a decade-by-decade account from the 1950s to the present day, highlighting music styles and genres, venues and promoters. In Chapter 4, the focus shifts to the methods of promotion that have been used by promoters in Leeds over the decades. Innovation, a DIY approach, circumvention of ‘rules’ and the impact of technology, from hand-written flyers to Letraset, computers, and social media will all be analysed. In Chapter 5, the law and politics / public policy that has both hindered and assisted nightlife in Leeds from the days of the ball room where alcohol wasn’t served, to Leeds becoming a 24 hour city will all become the focus of discussion. The impacts of these legal and political elements will be analysed and discussed in depth as nightclubs rose in prominence in the city, before going into decline. In Chapter 6, the unsafe social conditions that used to exist in Leeds will be explained and how clubs have served a community purpose that have made Leeds a safer place for those people who may be ‘alternative’ or identify as part of the LGBT+ community. In Chapter 7, the theme of safety shifts towards racism and how in the face of this, DIY innovation amongst the Afro-Caribbean community of Leeds, brought the city new music and sound system culture, something which has shaped the music and technology within venues ever since. In Chapter 8, a decade-by-decade discussion about the relationship between music, nightlife, and drugs, will be analysed and how this has impacted upon the venues and recurrent events that have taken place in Leeds. This discussion shifts to how the younger generation today are more inclined to shy away from drugs and alcohol in the face of healthier lifestyle alternatives. In Chapter 9, predictions will be made as to what the future may hold for recurrent events in Leeds for the remainder of the 2020s. In doing so recurrent event numbers, venues, promoters, music and DJs will all be discussed. In Chapter 10, the thesis draws to a close with a conclusion that discusses the key points of learning that have been made from conducting this research, along with making recommendations to key stakeholder groups. Finally the contribution to knowledge that this research has given will be highlighted. The thesis chapters are supported by extensive appendices, which are named above in the table of contents.

Entertainment studies are an important emerging subject in tourism, and this introductory textbook provides a detailed overview of the entertainment industry discipline in order to prepare students for roles such as promoters, festival ...

This chapter discusses the forms and prospects of cinema and film.

This book is an ideal companion to a programme of skills development that you will be undertaking as part of your course.

The book: * Introduces the concepts of special event planning and management * Discusses the key components for staging an event, and covers the whol;e process from creation to evaluation * Examines the event industry within its broader ...