Current Search: Rock groups. (x)
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Title
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A Historical Perspective on LP Marketing and Payola in 1962: The Case of Robby and the Troubadours.
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Creator
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Fagan, Kalman Sheppard, Rhorer, Marc A., Florida Atlantic University, College of Business, Department of Marketing
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Abstract/Description
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The music industry in 1962 reflected the political turmoil of the times. Dinner and dancing was a popular pastime. The music Americans heard and enjoyed over the airways was limited, however, by payola. Program directors adhered to criteria that supported the corporate fiscal model of their radio stations. Songs needed to attract listeners and major advertisers. Payola typically involved direct payments from major record labels to disc jockeys and the rewards were lucrative. Record labels fed...
Show moreThe music industry in 1962 reflected the political turmoil of the times. Dinner and dancing was a popular pastime. The music Americans heard and enjoyed over the airways was limited, however, by payola. Program directors adhered to criteria that supported the corporate fiscal model of their radio stations. Songs needed to attract listeners and major advertisers. Payola typically involved direct payments from major record labels to disc jockeys and the rewards were lucrative. Record labels fed them songs to play and disc jockeys became loyal to the payments. Thus, payola became a bottleneck to broader distribution of other artists, which hurt musicians, small record labels, and the public, and increased the price of music. Entertainment managers were ambitious band managers who took on additional roles due to the high costs of producing and promoting songs. The case of Robby and the Troubadours is shared through a historical simulated marketing plan.
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Date Issued
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2018
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PURL
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http://purl.flvc.org/fau/fd/FA00013059
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Subject Headings
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Long-playing records., Music trade--Marketing., Rock groups.
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Format
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Document (PDF)
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Title
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Urban space and the birth of punk.
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Creator
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Fletcher, Paul., Harriet L. Wilkes Honors College
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Abstract/Description
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While the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous...
Show moreWhile the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous New York City bands like the Velvet Underground--who performed as high-class, elitist artists. The New York Dolls destroyed this hierarchy, allowing the audience to join them. So, all the aesthetics that are associated with punk are the physical, visual, and auditory manifestations of the original scene and unity that began with the New York Dolls.
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Date Issued
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2006
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PURL
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http://purl.flvc.org/FAU/11586
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Subject Headings
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Rock musicians, Music, Philosophy and aesthestics, Counterculture, History, Punk rock music, History and criticism, Punk culture, History
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Format
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Document (PDF)
