By Ben Yagoda
All people is familiar with and loves the yankee Songbook. yet it’s a piece much less greatly understood that during approximately 1950, this movement of serious songs kind of dried up. instantly, what came to visit the radio wasn’t Gershwin, Porter, and Berlin, yet “Come on-a My House” and “How a lot Is That Doggie within the Window?” Elvis and rock and roll arrived many years later, and at that time the sport used to be really up. What occurred, and why? within the B facet, acclaimed cultural historian Ben Yagoda solutions these questions in a desirable piece of detective paintings. Drawing on formerly untapped archival resources and on ratings of interviews—the voices contain Randy Newman, Jimmy Webb, Linda Ronstadt, and Herb Alpert—the publication illuminates wide musical traits via a chain of intertwined tales. between them are the conflict among ASCAP and Broadcast tune, Inc.; the revolution in jazz after global battle II; the effect of radio after which tv; and the sour, decades-long feud among Mitch Miller and Frank Sinatra.
The B aspect is ready style, and the actual economics and tradition of songwriting, and the opportunity of well known paintings for greatness and wonder. It’s destined to develop into a vintage of yankee musical historical past.
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Additional info for The B Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song
Politics and art have never merged easily and have frequently failed, as they did in the New Thing, to merge at all. The Africanism in much of that music was often just an overlay, and it was simply not cool to stress the importance of training and tradition: that was too Western, too white, too Brubeck. Not everyone saw it that way, of course. ’ ”3 A 1958 piece by Kenneth Rexroth, one of jazz’s best and least-acknowledged critics, predates this observation and presents “Some Thoughts on Jazz as Music, as Revolt, as Mystique” with references to Mingus (whom Rexroth knew well) throughout.
Mingus: Right, and he was avant-garde. goodman: He was called the most avant-garde composer around. And he knew better. He once told somebody who called him the leader of the 36 / Avant-Garde and Tradition avant-garde, “No, there’s no avant-garde. ” And that’s beautiful, because it really shouldn’t be a ques tion of people being either advanced or late. The reason the critics use this is because it’s a handle, a label, an easy kind of way to put people in categories. ” Well, OK, that’s fine, but— mingus: But when their system has shown up what they’re doing— goodman: Yeah, you want to say, “All right, what do you relate to, man?
What else? • • • End of solo. ” • • • interviewer: Yeah, well, what else now? I just would like to go back to your music, you know, if you don’t mind. You mentioned your latest record on Columbia—are you now working on a new album? mingus: Well, it probably will be an album because George Wein’s people always record at Newport [in New York], and some way I’ll have a big band there, and a couple of weeks before that I’m going to be at a theater. 7 I’ll be working the band out there, plus I’ll have a string quartet, not the usual—I’ll have two cellos, a viola, and violin.