Solid Gold
The Popular Record Industry
Bibliographic Data
| ID | 11100281 |
|---|---|
| Authors | Joseph Damrell (corresponding author) |
| Year | 1976 |
| Volume | 5 |
| Issue | 5 |
| Pages | 563 |
| Publication date | 1976-09-01 |
| Open Access | No |
| Type | REVIEW |
| Review of | Solid gold: The Popular Record Industry, R Serge Denisoff, 1975 |
| Venue | Contemporary Sociology A Journal of Reviews (JOURNAL) |
| Journal identifiers | ISSN: 0094-3061 • E-ISSN: 1939-8638 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.2307/2063286 |
| OpenAlex | W2022449699 |
| Language | EN |
More than 90 record companies release over 9,000 pop records each year--a staggering total of 52,000 songs. Each one competes for the gold record, the recording industry's symbol of success that certifies $1 million worth of records have been sold. Solid Gold explains why, for each record that succeeds, countless others fail. This book follows the progress of a record through production, marketing, and distribution, and shows how a mistake made at any point can mean its doom. Denisoff suggests that a drastic shift in the demographic makeup of the pop music audience during the sixties has resulted in a broader listening public, including fans at every level of society
The Aesthetics of Punk Rock
Bob Dylan
Just Me and the Boys
Country Music Lyrics
The Practice of Recording Music
Institutionalizing Authenticity in the Digitized World of Music
The Enemy of Music
The Implications of Ownership Changes on Concentration and Diversity in the Phonogram Industry
Cambios en el sonido
Guía bibliográfica
The Recording Industry as the Enemy? A Case Study of Early West German Metal Music
Constructing popular music programs at Higher Music Education Institutions across Europe
Growing up is hard to do
An Intermediary Between Production and Consumption
Producing Artistic Value
How Do Cultural Producers Make Creative Decisions? Lessons from the Catwalk
The recording industry
Popular Music Transfer and Transformation
The Impure Performance Frame of the Public House Entertainer
Mass Communication Theory and Research
Long-haired, freaky people need to apply
Bye Bye Rock”
Prise de décision créative en situation d'incertitude
The Rise and Fall of Ace Records
Dissonant Identities
On the outside looking in
Towards a uses and gratifications approach
Popular music is plural
Rock Journalists and Music Critics
Bruce Springsteen, Rock Criticism, and the Music Business
Twilight of the age of Aquarius? Popular music in the 1970s
Suggested scales for the measurement of musical involvement and genre tastes
Discriminant analysis approach to the measurement of commercial performance of contemporary popular music
Hit singers’ careers since 1940
Musical taste cultures and taste publics revisited
Audience orientation and the occupational rhetoric of public house performers
Disco
Hey, hey woody Guthrie I wrote you a song”
A comparison of group structures and processes in two local level rock ‘n’ roll bands
Substream” recordings
The silent performance
It's a wonder I can think at all”
From Anonymous Announcer to Radio Personality, From Pied Piper to Payola
Fifty Years of Popular Music and Society
The Popular Music Industry in Transition
On the role and tasks of a record producer
Commercial “country” music in the 1970s
New Technologies and the Business of Music
Popular music and society and the evolving discipline of popular music studies
Cultural socialization and the development of taste cultures and culture classes in American popular music
Rock as a chaos model ritual
More than just music
Why 1955? Explaining the advent of rock music
Essay Review
Capitalism and Romantic ideology in the record business
Concentration, diversity, and consequences
Success ratios, new music and sound recording copyright
The Naturalized Gender Order Of Rock and Roll
What's the buzz
Occupational rhetoric and ideology
Employment Status and Commitment Among Public House Performers
| Highly cited | No |
|---|