MUAR 392Notes

MUAR 392Notes - MUAR 392 Chapter 11: The Producers Answer...

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MUAR 392 Chapter 11: The Producers Answer Back: The Emergence of the “Indie” Record Company - “That’s Gold in Them Hillbillies” (chapter 4): discussed the position of the “race” and “hillbilly” categories in relation to mainstream “popular” music during the 20s and 30s. - The structure of the music industry in the US discrimination against popular musicians outside of mainstream. - Radio dominated by national network shows playing a broad range of programs e.g. music variety, dramas, comedies, news, concerts, etc. - Music on shows came from songs written by professionals employed by Tin Pan Alley - Tin Pan Alley professionals wrote most of the music for Broadway and Hollywood musicals (after 1930s) - American Society of Composers and Publishers (ASCAP): responsible for securing royalties for songwriters. - ASCAP had strict rules about whom they’d accept as a composer - Most hillbilly and race composers didn’t fit into their guidelines excluded them from receiving exposure via radio broadcasts and from collecting revenue from their songs (that would come from jukebox playing, sales of recordings, public performance or radio broadcasts). - This situation began to change in the 30s thanks to Broadcast Music Incorporated (BMI- a publishing rights organization) - BMI used looser guidelines than ASCAP about what consisted of a good composition, and about what type of people qualify as composers - Local radio stations began playing hillbilly music – stations devoted to race music developed later - Also on “Barn Dance” shows e.g. Grand Ole Opry and WLS National Dance Barn (both broadcasted since 1925) reached larger audiences. Grand Ole Opry dedicated ½ hour on Saturday nights on NBC radio network - 1942-‘43: recording bans increased interest by radio networks in alternative sources for recordings which facilitated crossovers and cover tunes of hillbilly and race music. - After WW2, the number of independent record companies for race and hillbilly music grew very quickly. - 1940s: 4 major companies dominating record sales: RCA Victor, Columbia, Decca and Capitol AKA the “majors” - 1948-1955: decentralization of record sales percentage of sales my “majors “ fell - The article describes the music industry’s awareness of the growing role of independent record companies.
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Indies’ Surprise Survival: Small Labels’ Ingenuity and Skill Pay Off- Bill Simon - Petrillo signed with record companies to end recording ban - Thought that the distribution and exploitation power and slicker recording studios of the majors would end indie era. - Not the case, indie label producers were creative and sharp, they acquired special niches in the market, outselling the “majors” in many cases. -
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This note was uploaded on 04/01/2010 for the course ARTS muar 392 taught by Professor Simonot during the Spring '10 term at McGill.

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MUAR 392Notes - MUAR 392 Chapter 11: The Producers Answer...

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