Damon J. Phillips
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691150888
- eISBN:
- 9781400846481
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150888.003.0005
- Subject:
- Sociology, Culture
This chapter examines why the firms that introduced a type of recorded jazz that was successful switched to champion another type of jazz that was less successful. Using both qualitative historical ...
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This chapter examines why the firms that introduced a type of recorded jazz that was successful switched to champion another type of jazz that was less successful. Using both qualitative historical and quantitative analyses, the chapter explores record company comparative advantage in the context of sociological congruence. It also considers the relationship between jazz, race, and Victorian-era firms. In particular, the chapter considers a key source of jazz's illegitimacy with respect to cultural elites: its association with African Americans. It shows that incumbents, after releasing the earliest jazz recordings (in 1917–1918), reoriented the production of jazz music to align with their identities as producers of symphonic music amid mounting elite anti-jazz sentiments.Less
This chapter examines why the firms that introduced a type of recorded jazz that was successful switched to champion another type of jazz that was less successful. Using both qualitative historical and quantitative analyses, the chapter explores record company comparative advantage in the context of sociological congruence. It also considers the relationship between jazz, race, and Victorian-era firms. In particular, the chapter considers a key source of jazz's illegitimacy with respect to cultural elites: its association with African Americans. It shows that incumbents, after releasing the earliest jazz recordings (in 1917–1918), reoriented the production of jazz music to align with their identities as producers of symphonic music amid mounting elite anti-jazz sentiments.
Damon J. Phillips
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691150888
- eISBN:
- 9781400846481
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150888.003.0006
- Subject:
- Sociology, Culture
This chapter examines the sociological congruence of record company deception. It explores deception through the lens of organizational role identities, where role identities are a function of when ...
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This chapter examines the sociological congruence of record company deception. It explores deception through the lens of organizational role identities, where role identities are a function of when an organization was founded. It also discusses the role of pseudonyms by focusing on Victorian-era firms and the anti-jazz sentiments they faced. In particular, it considers the relationship of firm identities to the costs and success of highbrow versus lowbrow jazz recordings. The chapter shows that Victorian-era firms used deception to overcome two types of identity threats: their association with profitable but illegitimate types of jazz, and the actions of newer entrants that blurred the incumbents' identity.Less
This chapter examines the sociological congruence of record company deception. It explores deception through the lens of organizational role identities, where role identities are a function of when an organization was founded. It also discusses the role of pseudonyms by focusing on Victorian-era firms and the anti-jazz sentiments they faced. In particular, it considers the relationship of firm identities to the costs and success of highbrow versus lowbrow jazz recordings. The chapter shows that Victorian-era firms used deception to overcome two types of identity threats: their association with profitable but illegitimate types of jazz, and the actions of newer entrants that blurred the incumbents' identity.
William Howland Kenney
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195171778
- eISBN:
- 9780199849789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195171778.003.0008
- Subject:
- Music, History, American
The economic depression of the 1930s decimated the recording industry in the United States: hard times so undermined the phonograph companies that many never recovered. Victor and Columbia survived ...
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The economic depression of the 1930s decimated the recording industry in the United States: hard times so undermined the phonograph companies that many never recovered. Victor and Columbia survived by merging with other media corporations. The Depression's long-term economic effects, combined with the development of new communication technologies, served to accelerate the expansion of a few leading recording companies into business conglomerates that supplied recorded music for movies, radio, and jukeboxes. These multimedia consolidations led to the simultaneous playing of a limited number of popular songs on movie sound tracks, radio broadcasts, and jukeboxe sounds, saturating the media with hit songs, overwhelming young and musically unformed Americans, and absorbing ethnic and race music traditions into popular music formulas. The hit record phenomenon, so often exaggerated by phonograph critics, highlights a fundamental process in popular recorded music in the United States and a phonographic paradox: the power of a particular musical performance diminishes with repeated listening.Less
The economic depression of the 1930s decimated the recording industry in the United States: hard times so undermined the phonograph companies that many never recovered. Victor and Columbia survived by merging with other media corporations. The Depression's long-term economic effects, combined with the development of new communication technologies, served to accelerate the expansion of a few leading recording companies into business conglomerates that supplied recorded music for movies, radio, and jukeboxes. These multimedia consolidations led to the simultaneous playing of a limited number of popular songs on movie sound tracks, radio broadcasts, and jukeboxe sounds, saturating the media with hit songs, overwhelming young and musically unformed Americans, and absorbing ethnic and race music traditions into popular music formulas. The hit record phenomenon, so often exaggerated by phonograph critics, highlights a fundamental process in popular recorded music in the United States and a phonographic paradox: the power of a particular musical performance diminishes with repeated listening.
William Howland Kenney
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195171778
- eISBN:
- 9780199849789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195171778.003.0009
- Subject:
- Music, History, American
More than we used to realize, the phonograph and recorded music served to stimulate collective memories among Americans of different social and ethnic backgrounds, who were, like the few large ...
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More than we used to realize, the phonograph and recorded music served to stimulate collective memories among Americans of different social and ethnic backgrounds, who were, like the few large recording companies that survived the Depression, caught up in the swiftly changing patterns and politics of national life. The personal changes brought on by life itself provided ample stimulus for seeking solace in musical memories, but the additional burdens of national economic adversity and war, which drew workers into urban factories and GIs onto lonely battlefields, led many in both groups to long for the music they had left behind. Record producers often mixed stylistic genres and, less creatively, simply issued ethnic cover versions of hit records. Such processes of cultural and musical assimilation created another basis for shared popular musical memories. With bebop, as with 1920s jazz, blues, hillbilly music, and big band swing of the 1930s and 1940s, the recording industry mediated cultural and musical diversity in the United States.Less
More than we used to realize, the phonograph and recorded music served to stimulate collective memories among Americans of different social and ethnic backgrounds, who were, like the few large recording companies that survived the Depression, caught up in the swiftly changing patterns and politics of national life. The personal changes brought on by life itself provided ample stimulus for seeking solace in musical memories, but the additional burdens of national economic adversity and war, which drew workers into urban factories and GIs onto lonely battlefields, led many in both groups to long for the music they had left behind. Record producers often mixed stylistic genres and, less creatively, simply issued ethnic cover versions of hit records. Such processes of cultural and musical assimilation created another basis for shared popular musical memories. With bebop, as with 1920s jazz, blues, hillbilly music, and big band swing of the 1930s and 1940s, the recording industry mediated cultural and musical diversity in the United States.
William Howland Kenney
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195171778
- eISBN:
- 9780199849789
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195171778.003.0007
- Subject:
- Music, History, American
In the early history of the phonograph and recorded music, if not in the minds and performance practices of all vernacular musicians, blues and hillbilly music should receive separate consideration; ...
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In the early history of the phonograph and recorded music, if not in the minds and performance practices of all vernacular musicians, blues and hillbilly music should receive separate consideration; the recording industry rigidly distinguished between rural white and rural Black recorded music by creating and maintaining segregated recording and marketing categories. Making and replaying sound reproductions of what record producers first called “old familiar tunes”, “hill country tunes”, “old time music”, and, beginning in 1925, “hillbilly” music, swiftly intertwined supposedly rustic white southeastern American musicians with complex patterns of northern urban industrial commerce. Producing, recording, and consuming records of what passed for white rural southern music primarily served the economic interests of the northern recording companies that discovered remarkably little difficulty in harnessing southern entrepreneurial ambitions to their own corporate ends. Hillbilly records were born when northern and southern entrepreneurs began to envision how professionalized southern vernacular musicians would appeal when recorded and packaged as untutored rural southern mountaineers. Pioneer record producers like Ralph Peer liked to call their work in the South “recording expeditions”.Less
In the early history of the phonograph and recorded music, if not in the minds and performance practices of all vernacular musicians, blues and hillbilly music should receive separate consideration; the recording industry rigidly distinguished between rural white and rural Black recorded music by creating and maintaining segregated recording and marketing categories. Making and replaying sound reproductions of what record producers first called “old familiar tunes”, “hill country tunes”, “old time music”, and, beginning in 1925, “hillbilly” music, swiftly intertwined supposedly rustic white southeastern American musicians with complex patterns of northern urban industrial commerce. Producing, recording, and consuming records of what passed for white rural southern music primarily served the economic interests of the northern recording companies that discovered remarkably little difficulty in harnessing southern entrepreneurial ambitions to their own corporate ends. Hillbilly records were born when northern and southern entrepreneurs began to envision how professionalized southern vernacular musicians would appeal when recorded and packaged as untutored rural southern mountaineers. Pioneer record producers like Ralph Peer liked to call their work in the South “recording expeditions”.
Bruce Bastin and Kip Lornell
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032769
- eISBN:
- 9781617032776
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032769.001.0001
- Subject:
- Music, History, American
Joe Davis, the focus of this book, enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s; copyrighted compositions by ...
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Joe Davis, the focus of this book, enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s; copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee; oversaw hundreds of recording sessions; and operated several record companies, beginning in the 1940s. Davis also worked fearlessly to help insure that black recording artists and song writers gained equal treatment for their work. Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Davis was not a music “great,” but he was one of those individuals who enabled “greats” to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the “Race talent” for Ajax records, he had already worked in the music business for nearly a decade and there was more than five decades of musical career ahead of him. The fact that his life has gone so long under-appreciated is remedied by the publication of Never Sell A Copyright. Originally published in England, in 1990, Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916–1978 was never released in the United States.Less
Joe Davis, the focus of this book, enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s; copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee; oversaw hundreds of recording sessions; and operated several record companies, beginning in the 1940s. Davis also worked fearlessly to help insure that black recording artists and song writers gained equal treatment for their work. Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Davis was not a music “great,” but he was one of those individuals who enabled “greats” to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the “Race talent” for Ajax records, he had already worked in the music business for nearly a decade and there was more than five decades of musical career ahead of him. The fact that his life has gone so long under-appreciated is remedied by the publication of Never Sell A Copyright. Originally published in England, in 1990, Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916–1978 was never released in the United States.
Stephen Putnam Hughes
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199928835
- eISBN:
- 9780199369751
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199928835.003.0007
- Subject:
- Music, Ethnomusicology, World Music, Popular
This chapter considers the relationship between Hinduism and the history of music recording in South India. It argues that over the first decades of the 20th century, the introduction and commercial ...
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This chapter considers the relationship between Hinduism and the history of music recording in South India. It argues that over the first decades of the 20th century, the introduction and commercial success of the gramophone business was built around a series of constitutive relations with Hinduism. Record companies in South India not only drew upon Hindu musical traditions and performers, but they also used Hindu iconography to market their records and represent their business practices. Moreover, these companies produced records according to the Hindu ritual calendar, turned the studio recording sessions into places of worship, and sought to locate gramophone technology within a Hindu theology of sound.Less
This chapter considers the relationship between Hinduism and the history of music recording in South India. It argues that over the first decades of the 20th century, the introduction and commercial success of the gramophone business was built around a series of constitutive relations with Hinduism. Record companies in South India not only drew upon Hindu musical traditions and performers, but they also used Hindu iconography to market their records and represent their business practices. Moreover, these companies produced records according to the Hindu ritual calendar, turned the studio recording sessions into places of worship, and sought to locate gramophone technology within a Hindu theology of sound.
Floyd Levin
- Published in print:
- 2000
- Published Online:
- May 2012
- ISBN:
- 9780520213609
- eISBN:
- 9780520928985
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520213609.001.0001
- Subject:
- Music, History, American
The author of this book, an award-winning jazz writer, has personally known many of the jazz greats who contributed to the music's colorful history. This book, which contains works published mostly ...
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The author of this book, an award-winning jazz writer, has personally known many of the jazz greats who contributed to the music's colorful history. This book, which contains works published mostly in jazz magazines over a fifty-year period, takes us into the nightclubs, the recording studios, the record companies, and, most compellingly, into the lives of the musicians who made the great moments of the traditional jazz and swing eras. Weaving anecdotal material, primary research, and music analysis into every chapter, the book is a mine of information on a rich segment of American popular music. This collection begins with the author's first published piece and includes several new chapters that contain material inspired by his work on this compilation. The chapters are organized thematically, beginning with a piece on Kid Ory's early recordings and ending with a newly written chapter about the campaign to put up a monument to Louis Armstrong in New Orleans. Along the way, the book gives in-depth profiles of many well-known jazz legends, such as Jelly Roll Morton, Duke Ellington, and Louis Armstrong, and many lesser-known figures who contributed greatly to the development of jazz.Less
The author of this book, an award-winning jazz writer, has personally known many of the jazz greats who contributed to the music's colorful history. This book, which contains works published mostly in jazz magazines over a fifty-year period, takes us into the nightclubs, the recording studios, the record companies, and, most compellingly, into the lives of the musicians who made the great moments of the traditional jazz and swing eras. Weaving anecdotal material, primary research, and music analysis into every chapter, the book is a mine of information on a rich segment of American popular music. This collection begins with the author's first published piece and includes several new chapters that contain material inspired by his work on this compilation. The chapters are organized thematically, beginning with a piece on Kid Ory's early recordings and ending with a newly written chapter about the campaign to put up a monument to Louis Armstrong in New Orleans. Along the way, the book gives in-depth profiles of many well-known jazz legends, such as Jelly Roll Morton, Duke Ellington, and Louis Armstrong, and many lesser-known figures who contributed greatly to the development of jazz.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0048
- Subject:
- Music, History, American
Clark Terry's Big Bad Band got distribution deals for some of their records. The band was packed with gigs. To manage his schedule, Clark set up an office in Manhattan and hired help. In order to ...
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Clark Terry's Big Bad Band got distribution deals for some of their records. The band was packed with gigs. To manage his schedule, Clark set up an office in Manhattan and hired help. In order to stop losing money, he setup his own publishing business. Plagiarism threatened the band and its gigs and Clark turned no stone unturned to curb it. With Melba Liston and Phil Woods, Clark started Etoile Music Productions and a record company under the same name. Clark describes his ventures as a part of the Etoile Music Productions and the ups and downs of his business. His schedule was getting busier with endorsements, interviews etc. but jazz and the Big Bad Band remained Clark's first love. He even started going to local schools to teach kids about jazz. This experience, as Clark describes, was his introduction to the world of a whole new jazz perpetuation.Less
Clark Terry's Big Bad Band got distribution deals for some of their records. The band was packed with gigs. To manage his schedule, Clark set up an office in Manhattan and hired help. In order to stop losing money, he setup his own publishing business. Plagiarism threatened the band and its gigs and Clark turned no stone unturned to curb it. With Melba Liston and Phil Woods, Clark started Etoile Music Productions and a record company under the same name. Clark describes his ventures as a part of the Etoile Music Productions and the ups and downs of his business. His schedule was getting busier with endorsements, interviews etc. but jazz and the Big Bad Band remained Clark's first love. He even started going to local schools to teach kids about jazz. This experience, as Clark describes, was his introduction to the world of a whole new jazz perpetuation.
Bruce Bastin and Kip Lornell
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032769
- eISBN:
- 9781617032776
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032769.003.0005
- Subject:
- Music, History, American
This chapter focuses on Joe Davis’s collaboration with Gennett Records. It explains that when Gennett returned to disc production in September 1944, Davis was given complete charge of selecting the ...
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This chapter focuses on Joe Davis’s collaboration with Gennett Records. It explains that when Gennett returned to disc production in September 1944, Davis was given complete charge of selecting the talent and the songs to be recorded and listed, and would also be the exclusive selling and distribution agent for all records made by Gennett. During this time Davis also made several purchases of masters from various recording companies, and continued signing and nurturing new artists.Less
This chapter focuses on Joe Davis’s collaboration with Gennett Records. It explains that when Gennett returned to disc production in September 1944, Davis was given complete charge of selecting the talent and the songs to be recorded and listed, and would also be the exclusive selling and distribution agent for all records made by Gennett. During this time Davis also made several purchases of masters from various recording companies, and continued signing and nurturing new artists.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0047
- Subject:
- Music, History, American
It was on February 15, 1970, that Clark Terry's Big Bad Band was to perform at the Carnegie Hall. The show was a hit, the audience gave it a standing ovation and Clark describes his feeling as being ...
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It was on February 15, 1970, that Clark Terry's Big Bad Band was to perform at the Carnegie Hall. The show was a hit, the audience gave it a standing ovation and Clark describes his feeling as being overwhelmed. This experience came with its own ups and downs for Clark. There was much money involved in the show. Clark also realized the nuances of the recording business and came to know that trying to get a record company pick an album was an extremely difficult task. Initially feeling low, Clark decided to continue fighting. The bright side was that the band was happy, and they had gotten paid. That standing ovation showed that the audience was happy. So Clark decided to keep stepping.Less
It was on February 15, 1970, that Clark Terry's Big Bad Band was to perform at the Carnegie Hall. The show was a hit, the audience gave it a standing ovation and Clark describes his feeling as being overwhelmed. This experience came with its own ups and downs for Clark. There was much money involved in the show. Clark also realized the nuances of the recording business and came to know that trying to get a record company pick an album was an extremely difficult task. Initially feeling low, Clark decided to continue fighting. The bright side was that the band was happy, and they had gotten paid. That standing ovation showed that the audience was happy. So Clark decided to keep stepping.
Nick Wilson
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199939930
- eISBN:
- 9780199369775
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199939930.003.0008
- Subject:
- Music, Performing Practice/Studies, History, Western
This chapter continues analysis of the commercialization of Early Music through reference to three further sets of institutions and their respective discourses of value: the BBC (art), music clubs ...
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This chapter continues analysis of the commercialization of Early Music through reference to three further sets of institutions and their respective discourses of value: the BBC (art), music clubs and festivals (folk), and record companies (commercial). TheBBCis shown to play a crucial role in incubating Early Musicin the early years of its development. William Glock’stop-down support for HIP (between 1960-73), coupled withtheties forged between Oxford-educated’scholar-performers’and the BBC’s music department,together constituted a distinctively enabling mix.Turning to Early Music’s links with the British folk revival we find music clubs and early music festivals providing an essential space for sharing HIP more widely. Though the record companies are often portrayed as only ‘jumping on the old band wagon’ once profitability was proved, the chapter outlinesa rather more complexpicture, highlightinganenlightened approach towards risk-taking by some of the industry’s key players.Less
This chapter continues analysis of the commercialization of Early Music through reference to three further sets of institutions and their respective discourses of value: the BBC (art), music clubs and festivals (folk), and record companies (commercial). TheBBCis shown to play a crucial role in incubating Early Musicin the early years of its development. William Glock’stop-down support for HIP (between 1960-73), coupled withtheties forged between Oxford-educated’scholar-performers’and the BBC’s music department,together constituted a distinctively enabling mix.Turning to Early Music’s links with the British folk revival we find music clubs and early music festivals providing an essential space for sharing HIP more widely. Though the record companies are often portrayed as only ‘jumping on the old band wagon’ once profitability was proved, the chapter outlinesa rather more complexpicture, highlightinganenlightened approach towards risk-taking by some of the industry’s key players.
Alex Sayf Cummings
- Published in print:
- 2013
- Published Online:
- March 2015
- ISBN:
- 9780199858224
- eISBN:
- 9780190254520
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199858224.003.0003
- Subject:
- History, Cultural History
This chapter examines how collectors, listeners, and entrepreneurs took advantage of a legal gray zone—that composers deserved to benefit from recordings of their work but that record companies did ...
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This chapter examines how collectors, listeners, and entrepreneurs took advantage of a legal gray zone—that composers deserved to benefit from recordings of their work but that record companies did not enjoy a copyright for their recordings—to rerelease old and out-of-print recordings, beginning in the 1930s. It considers how such activities landed bootleggers in court, often with indecisive results, and triggered a struggle for property rights. The chapter looks at the career of Eli Oberstein to illustrate the way some in the music business played fast and loose with sound recordings in the mid-twentieth century. It also explores the recording industry's lobbying to obtain federal copyright protection for its products, the issue of copying and distributing popular music, and the surge of bootlegging after World War II.Less
This chapter examines how collectors, listeners, and entrepreneurs took advantage of a legal gray zone—that composers deserved to benefit from recordings of their work but that record companies did not enjoy a copyright for their recordings—to rerelease old and out-of-print recordings, beginning in the 1930s. It considers how such activities landed bootleggers in court, often with indecisive results, and triggered a struggle for property rights. The chapter looks at the career of Eli Oberstein to illustrate the way some in the music business played fast and loose with sound recordings in the mid-twentieth century. It also explores the recording industry's lobbying to obtain federal copyright protection for its products, the issue of copying and distributing popular music, and the surge of bootlegging after World War II.
Nathan D. Gibson and Don Pierce
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781604738308
- eISBN:
- 9781621037620
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604738308.003.0001
- Subject:
- Music, Popular
This chapter discusses the story behind the creation of Starday Records. Starday records was established in 1952 when two local businessmen, Jack Starns and Harold W. Daily, decided to form a record ...
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This chapter discusses the story behind the creation of Starday Records. Starday records was established in 1952 when two local businessmen, Jack Starns and Harold W. Daily, decided to form a record label. It explains that Starns believed that a recording company was the only thing needed, as he had several artists lined up and songs ready to publish. It notes that the first Starday records were made at the ACA Recording Studios of the sound engineer Bill Holoford in 1953.Less
This chapter discusses the story behind the creation of Starday Records. Starday records was established in 1952 when two local businessmen, Jack Starns and Harold W. Daily, decided to form a record label. It explains that Starns believed that a recording company was the only thing needed, as he had several artists lined up and songs ready to publish. It notes that the first Starday records were made at the ACA Recording Studios of the sound engineer Bill Holoford in 1953.
Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.003.0003
- Subject:
- Music, Ethnomusicology, World Music
Chapter 2 with Chapter 1 focuses on the environment within Japanese modernity that is comprised of infrastructures in four spheres of activity— education, government, industry, and commerce--and, in ...
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Chapter 2 with Chapter 1 focuses on the environment within Japanese modernity that is comprised of infrastructures in four spheres of activity— education, government, industry, and commerce--and, in the field of music, connectivities among them that afford composers opportunities. Chapter 2 investigates connectivities in all four spheres, including commercial music education offered by Yamaha, opportunities for composing and publishing new instructional material for domestically-produced instruments (especially pianos), and support for contemporary music through cultural facilities. Other support for composers includes includes the JASRAC copyrighting agency, recording companies (ALM Records, Fontec, Camerata), and private publishers (Zen-On, Ongaku no Tomosha).Less
Chapter 2 with Chapter 1 focuses on the environment within Japanese modernity that is comprised of infrastructures in four spheres of activity— education, government, industry, and commerce--and, in the field of music, connectivities among them that afford composers opportunities. Chapter 2 investigates connectivities in all four spheres, including commercial music education offered by Yamaha, opportunities for composing and publishing new instructional material for domestically-produced instruments (especially pianos), and support for contemporary music through cultural facilities. Other support for composers includes includes the JASRAC copyrighting agency, recording companies (ALM Records, Fontec, Camerata), and private publishers (Zen-On, Ongaku no Tomosha).
Dave Laing
- Published in print:
- 2002
- Published Online:
- June 2013
- ISBN:
- 9780853235286
- eISBN:
- 9781846312717
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235286.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter examines the role of intellectual property rights in relation to the music business and argues that enforcement of the law would benefit struggling artists as well as large corporations. ...
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This chapter examines the role of intellectual property rights in relation to the music business and argues that enforcement of the law would benefit struggling artists as well as large corporations. It considers the ‘ensemble or complex of practices and institutions’ that simultaneously enables and regulates the production, distribution and consumption of music. After providing an overview of the ideological and rhetorical debate about the efficacy and ethics of music copyright, the chapter looks at the copyright market and its mechanisms, which include the institution of the authors' collection society, how prices are set, and the so-called ‘compulsory licence’. It also presents four case studies in the articulation of copyright in the music industry: the establishment of the performing right for composers in the 1850s; the granting of the status of ‘copyright owner’ to record companies in the early twentieth century; the role of patent owners, since the 1970s, in the marketing of five generations of audio and audio-visual home entertainment systems; and the uncertain status of music copyright owners in the cyberspace market.Less
This chapter examines the role of intellectual property rights in relation to the music business and argues that enforcement of the law would benefit struggling artists as well as large corporations. It considers the ‘ensemble or complex of practices and institutions’ that simultaneously enables and regulates the production, distribution and consumption of music. After providing an overview of the ideological and rhetorical debate about the efficacy and ethics of music copyright, the chapter looks at the copyright market and its mechanisms, which include the institution of the authors' collection society, how prices are set, and the so-called ‘compulsory licence’. It also presents four case studies in the articulation of copyright in the music industry: the establishment of the performing right for composers in the 1850s; the granting of the status of ‘copyright owner’ to record companies in the early twentieth century; the role of patent owners, since the 1970s, in the marketing of five generations of audio and audio-visual home entertainment systems; and the uncertain status of music copyright owners in the cyberspace market.
Don Logan
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110416
- eISBN:
- 9781604733037
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110416.003.0022
- Subject:
- Music, History, American
This chapter describes DJ Don Logan’s experiences with Shreveport radio and record companies from the late 1950s into the early 1970s. It Logan’s reflections on the symbiotic relationships between ...
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This chapter describes DJ Don Logan’s experiences with Shreveport radio and record companies from the late 1950s into the early 1970s. It Logan’s reflections on the symbiotic relationships between radio, record companies, and live performance; his discussion of Paula Records, particularly in relation to its artist John Fred and His Playboy Band; and his experience with radio station XERF, the Mexican/U.S. border station that employed him during the early 1960s.Less
This chapter describes DJ Don Logan’s experiences with Shreveport radio and record companies from the late 1950s into the early 1970s. It Logan’s reflections on the symbiotic relationships between radio, record companies, and live performance; his discussion of Paula Records, particularly in relation to its artist John Fred and His Playboy Band; and his experience with radio station XERF, the Mexican/U.S. border station that employed him during the early 1960s.
Tracey E. W. Laird
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110416
- eISBN:
- 9781604733037
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110416.003.0020
- Subject:
- Music, History, American
This chapter focuses on record company owner Mira Smith, and songwriter and civic leader Maggie Warwick. Smith was the founder and owner of RAM Records. Her recording efforts spanned several genres, ...
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This chapter focuses on record company owner Mira Smith, and songwriter and civic leader Maggie Warwick. Smith was the founder and owner of RAM Records. Her recording efforts spanned several genres, including country, rockabilly, R&B, and swamp pop. Smith moved away from Shreveport in the 1960s following the end of Hayride. Together with Warwick, Smith went to Nashville to write songs for producer and music publisher Shelby Singleton.Less
This chapter focuses on record company owner Mira Smith, and songwriter and civic leader Maggie Warwick. Smith was the founder and owner of RAM Records. Her recording efforts spanned several genres, including country, rockabilly, R&B, and swamp pop. Smith moved away from Shreveport in the 1960s following the end of Hayride. Together with Warwick, Smith went to Nashville to write songs for producer and music publisher Shelby Singleton.
John Solomon Otto and Augustus M. Burns
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617033032
- eISBN:
- 9781617033056
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617033032.003.0011
- Subject:
- History, American History: 20th Century
This chapter discusses the emergence of downhome blues recordings. In the 1920s, the advent of radio prompted record companies to search for new potential record buyers, and found a previously ...
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This chapter discusses the emergence of downhome blues recordings. In the 1920s, the advent of radio prompted record companies to search for new potential record buyers, and found a previously untapped market: black Americans. From 1920 to 1924, the earliest blues recordings featured women vocalists, who sang vaudeville blues penned by professional composers. These artists were accompanied by jazz bands and pianos. After 1924 the companies expanded their offerings to black audiences. Downhome blues recordings not only entertained, but also defined social situations and offered ways of coping with them.Less
This chapter discusses the emergence of downhome blues recordings. In the 1920s, the advent of radio prompted record companies to search for new potential record buyers, and found a previously untapped market: black Americans. From 1920 to 1924, the earliest blues recordings featured women vocalists, who sang vaudeville blues penned by professional composers. These artists were accompanied by jazz bands and pianos. After 1924 the companies expanded their offerings to black audiences. Downhome blues recordings not only entertained, but also defined social situations and offered ways of coping with them.
Robert M. Marovich
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039102
- eISBN:
- 9780252097089
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039102.003.0007
- Subject:
- Music, History, American
This chapter discusses the emergence of a new era in gospel music during the period 1933–1939, as evidenced by the proliferation of new gospel songs. It first examines the growth of the National ...
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This chapter discusses the emergence of a new era in gospel music during the period 1933–1939, as evidenced by the proliferation of new gospel songs. It first examines the growth of the National Convention of Gospel Choirs and Choruses and its presentation of music to promote racial pride and assimilation into the African American church community. It then considers the rise of religious radio in the early gospel era, focusing on the creation of radio shows that featured gospel choruses outside the worship service. It also looks at the American Decca Records Company and its religious recordings as part of the Decca 7000 Series, including those by Mahalia Jackson; Thomas A. Dorsey's presentation of the “Gospel Song Feast,” a collaboration between Pilgrim Gospel Chorus and First Church of Deliverance's voice choir, as his first attempt to move gospel from the altar to the auditorium and sell tickets; and First Church of Deliverance's introduction of the Hammond organ.Less
This chapter discusses the emergence of a new era in gospel music during the period 1933–1939, as evidenced by the proliferation of new gospel songs. It first examines the growth of the National Convention of Gospel Choirs and Choruses and its presentation of music to promote racial pride and assimilation into the African American church community. It then considers the rise of religious radio in the early gospel era, focusing on the creation of radio shows that featured gospel choruses outside the worship service. It also looks at the American Decca Records Company and its religious recordings as part of the Decca 7000 Series, including those by Mahalia Jackson; Thomas A. Dorsey's presentation of the “Gospel Song Feast,” a collaboration between Pilgrim Gospel Chorus and First Church of Deliverance's voice choir, as his first attempt to move gospel from the altar to the auditorium and sell tickets; and First Church of Deliverance's introduction of the Hammond organ.
