By Mark Laver
Jazz Sells: song, advertising and marketing, and Meaning examines the problems of jazz, intake, and capitalism via advertisements. On tv, on the net, in radio, and in print, advertisements is a seriously vital medium for the mass dissemination of song and musical that means. This ebook is a learn of using the jazz style as a musical signifier in promotional efforts, exploring how the connection among model, jazz song, and jazz discourses come jointly to create which means for the product and the patron. even as, it examines how jazz deals a useful lens in which to ascertain the complicated and infrequently contradictory tradition of intake upon which capitalism is predicated.
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Extra resources for Jazz Sells: Music, Marketing, and Meaning
Without Josh Grossman—a very old and very dear friend and musical colleague who is also the Artistic Director of the Toronto Jazz Festival—I never would have been able to speak with my collaborators from the Toronto Jazz Festival and the TD Bank: Alan Convery, Michele Martin, D’Arcy McDonald, Aileen Le Breton, and Pat Taylor. Similarly, Pete Johnston introduced me to his friends at the Halifax Jazz Festival: Chris Elson, Adam Fine, and Dustin LindenSmith. Finally, my Pepsi Jazz research was the result of a cold call to OMD Communications Director Gail Stein.
Without the kindness (and guest bedrooms) of beloved friends Rob Mosher and Daniel Pencer, I would have had a much more difficult time completing critical research in New York and Montreal. I am extremely grateful to all of these individuals—along with Todd Barkan, Sue Mingus, Phil Nimmons, Terry Promane, Paul Read, Kate Saxton, Scott Thornley, and Hugh Wakeham—for their insights and their generosity. In August of 2010, I spent a fruitful week at the John W. Hartman Center for Sales, Advertising & Marketing History at Duke University.
As Gerald Early has shown (1998), Whiteman’s orchestra was enormously popular at the time, debuted a number of significant “symphonic jazz” works (including George Gershwin’s “Rhapsody in Blue”), and was cited as an influence and inspiration by many contemporaries, including Duke Ellington (Early 1998: 421; Gennari 2006: 45). Nonetheless, the radio programmers’ preference for Euro-American-dominated “symphonic jazz” groups like Whiteman’s over the so-called “hot” bands that consisted of predominantly African American musicians like Louis Armstrong, Freddie Keppard, and Fats Waller affirms that race was a corollary of musical morality: while programmers were willing to “lower their standards” so far as to allow lowbrow Euro-American jazz bands on the radio, the thought of programming African American groups—even in a medium where their race was invisible—was unconscionable.
Jazz Sells: Music, Marketing, and Meaning by Mark Laver