Association for Recorded Sound Collections Certificate of Merit for the Best Historical Research in Recorded Roots or World Music, 2019 A&R Pioneers offers the first comprehensive account of the diverse group of men and women who pioneered artists-and-repertoire (A&R) work in the early US recording industry. In the process, they helped create much of what we now think of as American roots music. Resourceful, innovative, and, at times, shockingly unscrupulous, they scouted and signed many of the singers and musicians who came to define American roots music between the two world wars. They also shaped the repertoires and musical styles of their discoveries, supervised recording sessions, and then devised marketing campaigns to sell the resulting records. By World War II, they had helped redefine the canons of American popular music and established the basic structure and practices of the modern recording industry. Moreover, though their musical interests, talents, and sensibilities varied enormously, these A&R pioneers created the template for the job that would subsequently become known as "record producer." Without Ralph Peer, Art Satherley, Frank Walker, Polk C. Brockman, Eli Oberstein, Don Law, Lester Melrose, J. Mayo Williams, John Hammond, Helen Oakley Dance, and a whole army of lesser known but often hugely influential A&R representatives, the music of Bessie Smith and Bob Wills, of the Carter Family and Count Basie, of Robert Johnson and Jimmie Rodgers may never have found its way onto commercial records and into the heart of America's musical heritage. This is their story.
17. of Country Music in Atlanta (Urbana: University of Illinois Press, 1990), 67–86; Charles K. Wolfe, ... Categorizing Sound: Genre and Twentieth-Century Popular Music (Berkeley: University of California Press, 2016), 113–118; ...
Among his works in the history of agriculture are two books on the history of wheat harvesting on the Great Plains, Custom Combining on the Great Plains (1981) and Bull Threshers and Bindlestiffs (1990). His most recent work in the ...
... Orleans jazz functions as an audiotopia in the greater American soundscape. 53 There is no doubt that the setting of Preservation Hall taps into the touristic ... Frommer's New Orleans guidebook featured jazz musicians on the cover in 1997 ,
Negotiating Difference in French Louisiana Music: Categories, Stereotypes, and Identifications. Jackson: University Press of Mississippi, 2015. “Moses Asch.” Smithsonian Center for Folklife and Cultural Heritage.
New York World, 157 Newman, Hamon, 141 Newman, Roy, and His Boys, 227 Nichols, Bob. See McMichen, Clayton Nichols Brothers, 231 Niles, Edward Abbe, 67,71,85,99 Norman Luboff Choir, 262 Norris, Fate, 63,68 North Carolina, 6,9, 14, ...
Joel Dinerstein's retitling, Swinging the Machine, saw an “aesthetics of acceleration” in a line from the architect Le Corbusier: “The Negroes of the USA have breathed into jazz the song, the rhythm and the sound of machines.
Another female mode of music production in practice is related to cleanliness and organization to create a pleasing ... that not all men are messy and not all women are tidy, though for many women, creating an aesthetically comfortable, ...
'Ugly Bug Ball' was one of the rst Sherman brothers songs to appear in a Disney lm. ... remembering that Britain had never really experienced Dixieland – or even 1920s – jazz without it being translated by Jack Hylton or Bert Ambrose.
Eagle, B. and E. S. LeBlanc (2013), Blues: A Regional Experience, Santa Barbara: Praeger. Gibson, C., and K. Young (2005), “Historical Census Statistics on Population Totals by Race, 1790 to 1990, and by Hispanic Origin, 1970 to 1990, ...
Emo Rap Pioneer Cynthia Kennedy Henzel. Philadelphia radio personality DJ Diamond Kuts helped spread Uzi's work to a ... (A&R) department. A record company's A&R staff is responsible for finding and developing new talent. C Cannon signed ...