By Russell Sanjeck
This quantity specializes in advancements within the tune enterprise within the 20th century, together with vaudeville, song bins, the connection of Hollywood to the song company, the "fall and upward thrust" of the list enterprise within the Thirties, new expertise (TV, FM, and the LP list) after international struggle II, the dominance of rock-and-roll and the large elevate within the song company through the Fifties and Sixties, and at last the altering track company scene from 1967 to the current, in particular concerning executive laws, track licensing, and the list enterprise.
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Extra resources for American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business)
That genius of the American Cash Register Company looked for men who could be trained to sell. He emphasized that familiarity with the product must be inculcated in potential 32 1900-1920 33 customers. New music men therefore drilled their salesmen in the art of publicizing a song through constant repetition. For years before and after World War I, song pluggers were paid twenty dollars a week. Early in the game, Tin Pan Alley learned that the best song pluggers were often the songwriters who created the products, and hired them as both writers and pluggers, paying twenty dollars for plugging and thirty dollars for songs.
Louis Blues" (1914). Both were "vaudeville blues" and not in the traditional form. They were the latest form in the evolution of popular song from the blackface songs of the 1820s, through Stephen Foster's pre-Civil War "Ethiopian business," the postwar "plantation songs," and the coon songs of the 1890s' first ragtime era. Handy did make records for Columbia in 1917, but he failed to include either of his two blues hits. The first authentic blues was recorded for the same label in 1916 by a white man.
Buoyed by this participation in company affairs, Feist employees passed on their enthusiasm to local retail outlets, and the company had more million-copy sellers than all its competition combined. In this period when ten-cent sheet-music ruled, only one man's popular songs maintained the former thirty-cent price: those of Irving Berlin, who was correctly judged by history as the greatest writer of American popular songs. Berlin turned the skill with words and music that produced such pre1911 vaudeville novelty hits as "My Wife's Gone to the Country," "Yiddle on Your Fiddle Play a Ragtime Tune," "That Ragtime Violin," and "That Mesmerizing Mendelssohn Tune" into the genuine talent that could write complete scores for the London and Broadway stage.