- Table View
- List View
Modern MIDI: Sequencing and Performing Using Traditional and Mobile Tools
by Sam McGuireIn the last five years, the environment in which the Musical Instrument Digital Interface (MIDI) specification works and the tools that communicate via MIDI have changed dramatically. Modern MIDI: Sequencing and Performing Using Traditional and Mobile Tools gives you all the tools you need to properly and effectively use MIDI in a modern setting, while still incorporating vintage MIDI gear. Exploring typical workflows and techniques for both the studio and the performing environment, this book helps you navigate the changes that mobile computing has made to the way the music producers and engineers work with MIDI. If you’re a MIDI user seeking to increase your efficiency and productivity while still gaining an understanding of the fundamentals of MIDI, or a music professional looking to incorporate your mobile devices into your creative process, this is the book for you. Modern MIDI shows you how to implement the necessary components to use MIDI on your iPad, Android phone, or laptop.
Modern MIDI: Sequencing and Performing Using Traditional and Mobile Tools
by Sam McGuireModern MIDI equips you with everything you need to use MIDI in your music productions. With a particular focus on practical application and step-by-step explanations, this book does far more than tell you about how MIDI works. Simple explanations and real-world scenarios encourage you to test out the techniques for yourself. The second edition of Modern MIDI builds on the first, making sequencing approachable for absolute beginners, reinforcing the fundamentals of MIDI and expanding the coverage into new mobile technology and vintage gear. Modern MIDI is essential reading for beginners from all backgrounds, including students and professionals, as well as experienced users looking to develop their existing setups.
The Modern Percussion Revolution: Journeys of the Progressive Artist (Routledge Research in Music)
by Kevin Lewis Gustavo AguilarMore than eighty years have passed since Edgard Varèse’s catalytic work for percussion ensemble, Ionisation, was heard in its New York premiere. A flurry of pieces for this new medium dawned soon after, challenging the established truths and preferences of the European musical tradition while setting the stage for percussion to become one of the most significant musical advances of the twentieth century. This 'revolution', as John Cage termed it, was a quintessentially modernist movement - an exploration of previously undiscovered sounds, forms, textures, and styles. However, as percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths, comprised of various traditions and a multiplicity of aesthetic sensibilities, have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.
Modernism and Opera (Hopkins Studies in Modernism)
by Richard Begam and Matthew Wilson SmithMany of the greatest works in the operatic repertoire bear the hallmarks of modernism.At first glance, modernism and opera may seem like strange bedfellows—the former hostile to sentiment, the latter wearing its heart on its sleeve. And yet these apparent opposites attract: many operas are aesthetically avant-garde, politically subversive, and socially transgressive. From the proto-modernist strains of Richard Wagner’s Parsifal through the twenty-first-century modernism of Kaija Saariaho’s L’amour de loin, the duet between modernism and opera, at turns harmonious and dissonant, has been one of the central artistic events of modernity. Despite this centrality, scholars of modernist literature only rarely venture into opera, and music scholars generally return the favor by leaving literature to one side. But opera, that grand cauldron of the arts, demands that scholars, too, share the stage with one another.In Modernism and Opera, Richard Begam and Matthew Wilson Smith bring together musicologists, literary critics, and theater scholars for the first time in a mutual endeavor to trace certain key moments in the history of modernism and opera. This innovative volume includes essays from some of the most notable scholars in their fields and covers works as diverse as Debussy’s Pelléas et Mélisande, Bartók’s Bluebeard’s Castle, Berg’s Wozzeck, Janáček’s Makropulos Case, Thomson’s Four Saints in Three Acts, Strauss’s Arabella, Schoenberg’s Moses und Aron, Stravinsky’s The Rake’s Progress, Britten’s Gloriana, and Messiaen’s Saint François d’Assise. A collaborative study of the ultimate collaborative art form, Modernism and Opera reveals how modernism and opera illuminate each other and, more generally, the culture of the twentieth century. It also addresses a number of issues crucial for understanding the relation between modernism and opera, focusing in particular on intermediality (how modernism integrates music, literature, and drama into opera) and anti-theatricality (how opera responds to modernism’s apparent antipathy to theatricality). This captivating book—the first of its kind—will appeal to scholars of literature, music, theater, and modernity as well as to sophisticated opera lovers everywhere.
Modernism and Popular Music
by Ronald SchleiferTraditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether.
Modernism and the Cult of Mountains: Music, Opera, Cinema (Ashgate Interdisciplinary Studies in Opera)
by Christopher MorrisAdopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new 'cult of mountains' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera's reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music's identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss's Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.
Modernist America: Art, Music, Movies, and the Globalization of American Culture
by Richard PellsAmerica's global cultural impact is largely seen as one-sided, with critics claiming that it has undermined other countries' languages and traditions. But contrary to popular belief, the cultural relationship between the United States and the world has been reciprocal, says Richard Pells. The United States not only plays a large role in shaping international entertainment and tastes, it is also a consumer of foreign intellectual and artistic influences. Pells reveals how the American artists, novelists, composers, jazz musicians, and filmmakers who were part of the Modernist movement were greatly influenced by outside ideas and techniques. People across the globe found familiarities in American entertainment, resulting in a universal culture that has dominated the twentieth and twenty-first centuries and fulfilled the aim of the Modernist movement--to make the modern world seem more intelligible. Modernist America brilliantly explains why George Gershwin's music, Cole Porter's lyrics, Jackson Pollock's paintings, Bob Fosse's choreography, Marlon Brando's acting, and Orson Welles's storytelling were so influential, and why these and other artists and entertainers simultaneously represent both an American and a modern global culture.
The Modernist Legacy: Essays on New Music
by Björn HeileThis collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.
Modernity's Ear: Listening to Race and Gender in World Music (Postmillennial Pop #3)
by Roshanak KheshtiFearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early "songcatchers" were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the 'other' that made them. In Modernity's Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity's Ear ultimately explores the importance of pleasure in constituting the listening self.
Modes of Communication in Stravinsky’s Works: Sign and Expression (Routledge Research in Music)
by Per DahlIgor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky’s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer’s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky’s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literate and Stravinsky the musician.
Modular Synthesis: Patching Machines and People
by Ezra J. Teboul Andreas Kitzmann Einar EngströmModular Synthesis: Patching Machines and People brings together scholars, artists, composers, and musical instrument designers in an exploration of modular synthesis, an unusually multifaceted musical instrument that opens up many avenues for exploration and insight, particularly with respect to technological use, practice, and resistance.Through historical, technical, social, aesthetic, and other perspectives, this volume offers a collective reflection on the powerful connections between technology, creativity, culture, and personal agency. Ultimately, this collection is about creativity in a technoscientific world and speaks to issues fundamental to our everyday lives and experiences, by providing insights into the complex relationships between content creators, the technologies they use, and the individuals and communities who design and engage with them.With chapters covering VCV Rack, modular synthesis, instrument design, and the histories of synthesizer technology, as well as interviews with Dave Rossum, Corry Banks, Meng Qi, and Dani Dobkin, among others, Modular Synthesis is recommended reading for advanced undergraduates, researchers, and practitioners of electronic music and music technology. Chapter 3 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Modulation: Music Book Index
by Max RegerIn addition to his international renown as a teacher, conductor, and pianist, Reger wrote more than 1,000 works in virtually every musical genre. Many scholars and musicians credit him with emancipating dissonance to a level that assisted Schoenberg's development of serialism in the 1920s. Reger's influence extends to other 20th-century composers, including Béla Bártok, Alban Berg, Arthur Honegger, Paul Hindemith, and Sergei Prokofiev.Modulation — the change from one key to another — is a subject of critical importance to performers and composers in their study of harmony. Reger wrote this concise guide to modulation while teaching composition at Leipzig Conservatory, and the work continues to provide valuable insights and instruction for musicians at all levels. This new edition features newly engraved musical examples.
Moguls And Madmen: The Pursuit of Power in Popular Music
by Jory FarrFrom Simon & Schuster, Moguls and Madmen is Jory Farr's guide to the pursuit of power in popular music. As Jory Farr describes in the prologue of Moguls and Madmen, "this book is not for them [multi millionaire super scouts and corporate executives], however. It's for all the musicians—and the musicians to come—who want to know what they're up against."
Mojo Hand: The Life and Music of Lightnin' Hopkins
by Timothy J. O'Brien David EnsmingerIn a career that took him from the cotton fields of East Texas to the concert stage at Carnegie Hall and beyond, Lightnin’ Hopkins became one of America’s greatest bluesmen, renowned for songs whose topics effortlessly ranged from his African American roots to space exploration, the Vietnam War, and lesbianism, performed in a unique, eccentric, and spontaneous style of guitar playing that inspired a whole generation of rock guitarists. Hopkins’s music directly and indirectly influenced an amazing range of artists, including Jimi Hendrix, Stevie Ray Vaughan, Miles Davis, John Coltrane, Tom Waits, and Bob Dylan, as well as bands such as the Grateful Dead, Jefferson Airplane, and ZZ Top, with whom Hopkins performed. Mojo Hand follows Lightin’ Hopkins’s life and music from the acoustic country blues that he began performing in childhood, through the rise of 1950s rock ’n’ roll, which nearly derailed his career, to his reinvention and international success as a pioneer of electric folk blues from the 1960s to the 1980s. The authors draw on 130 vivid oral histories, as well as extensive archival and secondary sources, to provide the fullest account available of the development of Hopkins’s music; his idiosyncratic business practices, such as shunning professional bookers, managers, and publicists; and his durable and indelible influence on modern roots, blues, rock ’n’ roll, singer-songwriter, and folk music. Mojo Hand celebrates the spirit and style, intelligence and wit, and confounding musical mystique of a bluesman who shaped modern American music like no one else.
Molly's Promise (Orca Young Readers)
by Sylvia OlsenWhen Molly learns a talent competition is coming to town, her friend Murphy (A Different Game, Murphy and Mousetrap) becomes her manager. Molly is certain she is a good singer—she has been singing in her head for as long as she can remember. She doesn't sing out loud because of a promise she made to herself. Years ago, Molly vowed that her mom would be the first one to hear her sing. The only problem is, Molly knows nothing about her mom, who left when Molly was a baby. With the talent competition only weeks away, she has to decide whether to break her promise to herself and let her voice out into the world, or wait for her mother's uncertain return before singing for anyone else.
Molto Agitato: The Mayhem Behind the Music at the Metropolitan Opera
by Johanna FiedlerIf the opera world is full of "intrigue, double meanings, and devious dramatics," then no place exemplifies this more than the world-famous Metropolitan Opera, where politics, ambition, and oversized egos have traditionally taken center stage along with some of the world's richest music. Drawing on her fifteen years as its press representative, Johanna Fiedler explodes the traditional secrecy that surrounds the Met in this wonderfully entertaining account of its tumultuous history.
Mondo Exotica: Sounds, Visions, Obsessions of the Cocktail Generation
by Francesco AdinolfiTiki torches, cocktails, la dolce vita, and the music that popularized them--Mondo Exotica offers a behind-the-scenes look at the sounds and obsessions of the Space Age and Cold War period as well as the renewed interest in them evident in contemporary music and design. The music journalist and radio host Francesco Adinolfi provides extraordinary detail about artists, songs, albums, and soundtracks, while also presenting an incisive analysis of the ethnic and cultural stereotypes embodied in exotica and related genres. In this encyclopedic account of films, books, TV programs, mixed drinks, and above all music, he balances a respect for exotica's artistic innovations with a critical assessment of what its popularity says about postwar society in the United States and Europe, and what its revival implies today. Adinolfi interviewed a number of exotica greats, and Mondo Exotica incorporates material from his interviews with Martin Denny, Esquivel, the Italian film composers Piero Piccioni and Piero Umiliani, and others. It begins with an extended look at the postwar popularity of exotica in the United States. Adinolfi describes how American bachelors and suburbanites embraced the Polynesian god Tiki as a symbol of escape and sexual liberation; how Les Baxter's album Ritual of the Savage (1951) ushered in the exotica music craze; and how Martin Denny's Exotica built on that craze, hitting number one in 1957. Adinolfi chronicles the popularity of performers from Yma Sumac, "the Peruvian Nightingale," to Esquivel, who was described by Variety as "the Mexican Duke Ellington," to the chanteuses Eartha Kitt, Julie London, and Ann-Margret. He explores exotica's many sub-genres, including mood music, crime jazz, and spy music. Turning to Italy, he reconstructs the postwar years of la dolce vita, explaining how budget spy films, spaghetti westerns, soft-core porn movies, and other genres demonstrated an attraction to the foreign. Mondo Exotica includes a discography of albums, compilations, and remixes.
Monetizing Entertainment: An Insider's Handbook for Careers in the Entertainment and Music Industry
by Larry Wacholtz<p><i>Monetizing Entertainment: An Insider's Handbook for Careers in the Entertainment and Music Industry</i> offers a thorough, guided exploration of the current state of the industry, with an emphasis on trends in copyright, digital streaming, and practical advice for developing a career as an artist, technician, or industry executive. <p>This book investigates a variety of topics within the entertainment and music industry, ranging from traditional and emerging business models to intellectual property rights to the creative destruction happening currently. The book strategically outlines the existing gaps that make being successful as an artist a dynamic interaction between creativity and business. <p>This book includes the following: <p> <li>An overview of the creative destruction process that has destroyed some of the old business models and created a number of career options. <li>A look at innovative, entrepreneurial career options. <li>A step-by-step examination for both creative and business professionals of the administrative and financial structures of the industry. <li>Detailed analysis of trends and topics shaping the current entertainment and music industry drawn from insiders' perspectives and other contemporary resources.</li> <p> <p>An accompanying website (www.routledge.com/cw/wacholtz), hosting case studies, videos, data, infographics, and blog posts on business models, is the perfect companion to this authoritative resource.</p>
Mongolian Film Music: Tradition, Revolution and Propaganda
by Lucy M. ReesIn 1936 the Mongolian socialist government decreed the establishment of a film industry with the principal aim of disseminating propaganda to the largely nomadic population. The government sent promising young rural Mongolian musicians to Soviet conservatoires to be trained formally as composers. On their return they utilised their traditional Mongolian musical backgrounds and the musical skills learned during their studies to compose scores to the 167 propaganda films produced by the state film studio between 1938 and 1990. Lucy M. Rees provides an overview of the rich mosaic of music genres that appeared in these film soundtracks, including symphonic music influenced by Western art music, modified forms of Mongolian traditional music, and a new genre known as ’professional music’ that combined both symphonic and Mongolian traditional characteristics. Case studies of key composers and film scores are presented, demonstrating the influence of cultural policy on film music and showing how film scores complemented the ideological message of the films. There are discussions of films that celebrate the 1921 Revolution that led to Mongolia becoming a socialist nation, those that foreshadowed the 1990 Democratic Revolution that drew the socialist era to a close, and the diverse range of films and scores produced after 1990 in the aftermath of the socialist regime.
Mongolian Sound Worlds
by Bayarsaikhan Badamsuren Otgonbayar Chuluunbaatar Andrew Colwell Johanni Curtet Tserendava Dashdorj Charlotte D'Evelyn Tamir Hargana Peter K Marsh K Oktyabr Rebekah Plueckhahn Jennifer C. Post Sunmin YoonMusic cultures today in rural and urban Mongolia and Inner Mongolia emerge from centuries-old pastoralist practices that were reshaped by political movements in the twentieth century. Mongolian Sound Worlds investigates the unique sonic elements, fluid genres, social and spatial performativity, and sounding objects behind new forms of Mongolian music--forms that reflect the nation’s past while looking towards its globalized future. Drawing on fieldwork in locations across the Inner Asian region, the contributors report on Mongolia’s genres and musical landscapes; instruments like the morin khuur, tovshuur, and Kazakh dombyra; combined fusion band culture; and urban popular music. Their broad range of concerns include nomadic herders’ music and instrument building, ethnic boundaries, heritage-making, ideological influences, nationalism, and global circulation. A merger of expert scholarship and eyewitness experience, Mongolian Sound Worlds illuminates a diverse and ever-changing musical culture. Contributors: Bayarsaikhan Badamsuren, Otgonbaayar Chuulunbaatar, Andrew Colwell, Johanni Curtet, Charlotte D’Evelyn, Tamir Hargana, Peter K. Marsh, K. Oktyabr, Rebekah Plueckhahn, Jennifer C. Post, D. Tserendavaa, and Sunmin Yoon
Monk!: Thelonious, Pannonica, and the Friendship Behind a Musical Revolution
by Youssef Daoudi"Read this invigorating graphic narrative, then—quickly, before the spell breaks!—play one of Monk's records." —Saul Williams She is Kathleen Annie Pannonica de Koenigswarter, a free-spirited baroness of the Rothschild family. He is Thelonious Sphere Monk, a musical genius fighting against the whims of his troubled mind. Their enduring friendship begins in 1954 and ends only with Monk’s death in 1982.Set against the backdrop of New York during the heyday of jazz, Monk! explores the rare alchemy between two brilliant beings separated by an ocean of social status, race, and culture, but united by an infinite love of music. This breathtaking graphic novel by Youssef Daoudi beautifully captures the life of the “the high priest of bop” in spontaneous, evocative pen and ink that seems to make visible jazz itself.
Monsieur de Saint-George
by Alain Guédé Gilda M. RobertsThe first full biography of one of the greatest figures of eighteenth-century Europe, known in his time as the "Black Mozart"Virtually forgotten until now, his life is the stuff of legend. Born in 1739 in Guadeloupe to a slave mother and a French noble father, he became the finest swordsman of his age, an insider at the doomed court of Louis XVI, and, most of all, a virtuosic musician. A violinist, he directed the Olympic Society of Concerts, which was considered the finest in Europe in an age of great musicians, including Haydn, from whom he commissioned a symphony, and Mozart, to whom he was often compared. He also became the first Freemason of color, embracing the French Revolution with the belief that it would end the racism against which-despite his illustrious achievements-he struggled his whole life. This is the life of Joseph Bologne, known variously as Monsieur de Saint-George, the "Black Mozart," and, because of his origins, "the American." Alain Guédé offers a fascinating account of this extraordinary individual, whose musical compositions are at long last being revived and whose story will never again be forgotten.
Monster High: Welcome to Boo York
by Perdita FinnIt's fright lights, big city when the Monster High ghouls head to Boo York. Cleo de Nile is invited to attend a fancy gala celebrating the return of a magical comet and, of course, she brings along her beast friends. But their trip isn't all fun and frightseeing because Nefera, Cleo's sister, uses the comet's powers for her own spooktacularly sneaky plans. Can the monsters unwrap the mystery of the comet in time to stop Nefera?
Monster High: Catty Noir Finds Her Voice
by Perdita FinnA new Monster High leveled reader movie tie-in! © 2015 Mattel. All Rights Reserved.Passport to Reading Level 2
Monster Loyalty
by Jackie Huba"WE IDENTIFY WITH EACH OTHER. I SEE MYSELF IN MY FANS AND MY FANS SEE THEMSELVES IN ME. I CALL THEM LITTLE MONSTERS BECAUSE THEY ARE MY INSPIRATION. ” -LADY GAGA Famous for her avant-garde outfits, over-the-top performances, and addictive dance beats, Lady Gaga is one of the most successful pop musicians of all time. But behind her showmanship lies another achievement: her wildly successful strategy for attracting and keeping insanely loyal fans. She’s one of the most popular social media voices in the world with more than 33 million Twitter followers and 55 million Facebook fans. And she got there by methodically building a grassroots base of what she calls her "Little Monsters”-passionate fans who look to her not just for music but also for joy, inspiration, and a sense of community. In Monster Loyalty marketing expert Jackie Huba explores Gaga’s biography and fan philosophy and isolates the seven lessons any business can learn from her. For instance... Focus on your One Percenters: Lady Gaga is investing today in the audience she hopes to have twenty-five years from now. She spends most of her efforts on just 1 percent of her base, the highly engaged superfans who spread her message. Lead with values: Gaga stands out not just for her music but also for her message that it’s okay to be yourself and to love others for who they are. When you connect with customers beyond just providing a product or service, you create a lasting bond. Give them something to talk about: Whether she’s wearing a meat dress or delivering jaw-dropping performances, Lady Gaga knows what will get people talking. Making your business word-of-mouth-worthy cuts down on advertising costs and spreads buzz faster than anything else. Love her or hate her, you can’t ignore Lady Gaga. And while not all businesses want to stand out the way she does, any business can win big by creating monster loyalty. .