Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0006
- Subject:
- Sociology, Culture
This chapter looks at how a new generation of Nashville arts trade unionists is reinventing arts trade unionism for the contemporary generation of enterprising artists. With the advent of recorded ...
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This chapter looks at how a new generation of Nashville arts trade unionists is reinventing arts trade unionism for the contemporary generation of enterprising artists. With the advent of recorded music, corporate major labels, and mass distribution through radio airplay by the early 1950s, the chapter shows how Nashville AFM Local 257 had been transformed into a union representing both live and recording musicians and artists by a generation of arts trade union leaders who act as “corporate-era arts union activists.” Throughout the corporate era, Local 257 has developed and enforced master contracts with corporate signatories that apply especially to the major-label recording industry. The new generation of arts trade union leaders—the “entrepreneurial-era union activists”—are endeavoring to revitalize arts trade unionism as the Nashville music scene transitions from the corporate era of major labels into an era of indie entrepreneurial music production and distribution.Less
This chapter looks at how a new generation of Nashville arts trade unionists is reinventing arts trade unionism for the contemporary generation of enterprising artists. With the advent of recorded music, corporate major labels, and mass distribution through radio airplay by the early 1950s, the chapter shows how Nashville AFM Local 257 had been transformed into a union representing both live and recording musicians and artists by a generation of arts trade union leaders who act as “corporate-era arts union activists.” Throughout the corporate era, Local 257 has developed and enforced master contracts with corporate signatories that apply especially to the major-label recording industry. The new generation of arts trade union leaders—the “entrepreneurial-era union activists”—are endeavoring to revitalize arts trade unionism as the Nashville music scene transitions from the corporate era of major labels into an era of indie entrepreneurial music production and distribution.
Fabian Holt
- Published in print:
- 2007
- Published Online:
- March 2013
- ISBN:
- 9780226350370
- eISBN:
- 9780226350400
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226350400.001.0001
- Subject:
- Music, Popular
The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who ...
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The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album's inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn't bluegrass, but “roots music,” a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? This book provides new understanding as to why we debate music categories, and why those terms are unstable and always shifting. To tackle the full complexity of genres in popular music, the author embarks on a wide-ranging collection of case studies. Here he examines not only the different reactions to O Brother, but also the impact of rock and roll's explosion in the 1950s and 1960s on country music and jazz, and how the jazz and indie music scenes in Chicago have intermingled to expand the borders of their respective genres. Throughout, the author finds that genres are an integral part of musical culture—fundamental both to musical practice and experience, and to the social organization of musical life.Less
The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album's inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn't bluegrass, but “roots music,” a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? This book provides new understanding as to why we debate music categories, and why those terms are unstable and always shifting. To tackle the full complexity of genres in popular music, the author embarks on a wide-ranging collection of case studies. Here he examines not only the different reactions to O Brother, but also the impact of rock and roll's explosion in the 1950s and 1960s on country music and jazz, and how the jazz and indie music scenes in Chicago have intermingled to expand the borders of their respective genres. Throughout, the author finds that genres are an integral part of musical culture—fundamental both to musical practice and experience, and to the social organization of musical life.
Jesse Graves
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031564
- eISBN:
- 9781617031571
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031564.003.0023
- Subject:
- Literature, Poetry
Contemporary poetry and independent/roots music increasingly resemble one another, nurtured by the same native sources. The deepest and most consequential connection between the two genres lies in ...
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Contemporary poetry and independent/roots music increasingly resemble one another, nurtured by the same native sources. The deepest and most consequential connection between the two genres lies in the style and subject matter that makes up the work of contemporary poetry and indie music. Many poetry books and albums are apparently bound by a sense that their individual songs and poems make up a larger poetic sequence. This is evident in Magnolia Electric Co.’s 2009 album Josephine, which is reminiscent of contemporary poetry, with its reliance on symbols and recurrent imagery. Furthermore, the album is seemingly held together by a definite, albeit incomplete, narrative. This chapter examines the use of poetic sequences in contemporary poetry and albums such as Josephine.Less
Contemporary poetry and independent/roots music increasingly resemble one another, nurtured by the same native sources. The deepest and most consequential connection between the two genres lies in the style and subject matter that makes up the work of contemporary poetry and indie music. Many poetry books and albums are apparently bound by a sense that their individual songs and poems make up a larger poetic sequence. This is evident in Magnolia Electric Co.’s 2009 album Josephine, which is reminiscent of contemporary poetry, with its reliance on symbols and recurrent imagery. Furthermore, the album is seemingly held together by a definite, albeit incomplete, narrative. This chapter examines the use of poetic sequences in contemporary poetry and albums such as Josephine.
