The Selling Sound

Informationen zum Autor Diane Pecknold Klappentext "Any intelligent reader will enjoy "The Selling Sound." Tackling an element of country music that few other writers have addressed, Diane Pecknold redefines the relationship between the 'financial economy' and 'cultural economy.'"--David Sanjek, coauthor of "Pennies from Heaven: The American Popular Music Business in the Twentieth Century" Zusammenfassung Tracing the rise of a large and influential network of country fan clubs! this title highlights the significant promotional responsibilities assumed by club organizers until the early 1970s! when many of their tasks were taken over by professional publicists. Inhaltsverzeichnis Acknowledgments vii Introduction: Commercialism as a Cultural Text 1 1. Commercialism and the Cultural Value of Country Music, 1920-1947 13 2. Country Music Becomes Mass Culture, 1940-1958 53 3. Country Audiences and the Politics of Mass Culture, 1947-1960 95 4. Masses to Classes: The Country Music Association and the Development of Country Format Radio, 1958-1972 133 5. Commercialism and Tradition, 1958-1970 168 6. Silent Majorities: The Country Audience as Commodity, Constituency, and Metaphor, 1961-1975 200 Conclusion: Money Music 236 Notes 245 Selective Bibliography 273 Index 287

Autorentext
Diane Pecknold is a Postdoctoral Teaching Scholar in the Commonwealth Center for Humanities and Society at the University of Louisville. She is a coeditor of A Boy Named Sue: Gender and Country Music.

Klappentext
"Any intelligent reader will enjoy "The Selling Sound." Tackling an element of country music that few other writers have addressed, Diane Pecknold redefines the relationship between the 'financial economy' and 'cultural economy.'"--David Sanjek, coauthor of "Pennies from Heaven: The American Popular Music Business in the Twentieth Century"

Zusammenfassung
Tracing the rise of a large and influential network of country fan clubs, this title highlights the significant promotional responsibilities assumed by club organizers until the early 1970s, when many of their tasks were taken over by professional publicists.

Inhalt
Acknowledgments vii
Introduction: Commercialism as a Cultural Text 1
1. Commercialism and the Cultural Value of Country Music, 1920-1947 13
2. Country Music Becomes Mass Culture, 1940-1958 53
3. Country Audiences and the Politics of Mass Culture, 1947-1960 95
4. Masses to Classes: The Country Music Association and the Development of Country Format Radio, 1958-1972 133
5. Commercialism and Tradition, 1958-1970 168
6. Silent Majorities: The Country Audience as Commodity, Constituency, and Metaphor, 1961-1975 200
Conclusion: Money Music 236
Notes 245
Selective Bibliography 273
Index 287

#	Onlineshop	Preis CHF	Versand CHF	Total CHF
1	Seller	0.00	0.00	0.00