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Unformatted text preview: Jenny Lind P.T. Barnum derful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever. But all the same, I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart o Glen Miller 33 Long Play (LP) Jimmy Dorsey Sammy Davis Jr. (left) & Richard Nixon, 1973 Dean Martin Peter Lawford r ight) John Lennon, Paul McCar tney, George Har r ison, Ringo Star r Eric Clapton Joan Baez and Bob Dylan Woody Guthrie Peter, Paul and Mary Janis Joplin Jimi Hendrix Jimi Hendrix Berry Gordy CHAPTER 7 Turn the Beat Around: Popular Music in the United States (Tuesday, November 25 Class 25) I. Introduction American popular music is a billion dollar industry where its rhythms , fashions and attitude now reach into every corner of the globe. This chapter opens with the homegrown efforts of Stephen Foster, recognized as America's first songwriter, and follows the twists and turns of American popular culture trends. Covering superstar performers like Jenny Lind, Frank Sinatra, Elvis Presley, Madonna, and Michael Jackson, and popular genres such as Tin Pan Alley, the Folk Music Revival, and Hip Hop will give you a strong foundation on which to explore popular American culture. Imagine asking someone to name the first song that comes to mind. The probability of it being a mainstream song written, performed, recorded and made popular in the United States is high. Now imagine asking the first European settlers in the United States and the answer would be wildly different. For them, the purpose of music was part of their expression of devotion and the idea that it could be popular, as we understand that to be today, was inconceivable. It would take a revolution before American popular music could begin to mature into a global business enterprise worth billions of dollars. Music that is intended to become popular typically has specific objectives: it is written and sold for the purpose of making money (hopefully lots of it), generally performed by a single person or small group of musicians, targeted to the widest possible audience, and made available in some inexpensive consumable format such as sheet music or recording. One of the ways the music industry determines popularity is by measuring the sales success of individual pieces. In its early years, popularity was measured by the number of sheet music copies sold, but publishers usually kept poor sales records so these figures are very unreliable. Starting in the 1930s, a far more accurate measure began, though that data also suffered under suspicion of being untrustworthy. Billboard magazine, a weekly publication started in 1894, has published a listing of popularity charts since the early 1930s. Ratings on this chart are calculated by sales of the music and airplay. Record store owners would convey sales information to Billboard as well as radio stations calling in radio play (based on the music rotation and requests). More recently, sales data is information to Billboard as well as radio stations calling in radio play (based on the music rotation and requests)....
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