Nashville Cats

2020 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Music History ◽  
Country Music ◽  
Primary Sources ◽  
Recording Industry ◽  
Global View ◽  
Production And Distribution ◽  
History Of ◽  
The 1950S ◽  
Hall Of Fame ◽  
The City

Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.

scholarly journals Paprika Schlesinger

2017 ◽  
Vol 9 (1) ◽  
pp. 66-91 ◽  
Author(s):  
Richard A. Hawkins
Keyword(s):  
Primary Sources ◽  
National Library ◽  
Content Type ◽  
Marketing History ◽  
History Of ◽  
Complete Set ◽  
State Library ◽  
The City ◽  
Project Partner

Purpose This paper explores the development of a luxury retail shoe brand in Belle Époque Vienna. Design/methodology/approach Footwear retailing and marketing history is a neglected area. Unfortunately, no business records have survived from Robert Schlesinger’s shoe stores. However, it has been possible to reconstruct the history of the development of the Paprika Schlesinger brand from its extensive advertising in the Viennese newspaper, the Neue Freie Presse, with the guidance of the founder’s grandson, Prof Robert A. Shaw, Emeritus Professor of Chemistry, Birkbeck, University of London, England. This case study would not have been possible without the digitization of some major collections of primary sources. In 2014, the European Union’s Europeana digitization initiative launched a new portal via the Library of Europe website which provides access to selected digitized historic newspaper collections in libraries across Europe. The project partners include the Austrian National Library which has digitized full runs of several major historic Austrian newspapers, including the Neue Freie Presse. Other project partners which have digitized historic newspapers which are relevant to this paper are the Landesbibliothek Dr Friedrich Teßmann of Italy’s Südtirol region, the National Library of France and the Berlin State Library. An associate project partner library, the Slovenian National and University Library’s Digital Library of Slovenia, has also digitized relevant historic newspapers. Furthermore, the City of Vienna has digitized a complete set of Vienna city directories as part of its Wienbibliothek Digital project. Findings This paper suggests that Robert Schlesinger created one of the first European luxury retail shoe brands. Originality/value This is the first academic study of the historical development of the advertising and marketing of a European luxury retail shoe brand.

scholarly journals Archaeological Sites of the Middle Kiya River: History of Discoveries and Study Prospects

2020 ◽  
Vol 22 (3) ◽  
pp. 648-663
Author(s):  
A. S. Savelieva ◽  
P. V. German ◽  
I. A. Plats ◽  
L. Yu. Bobrova
Keyword(s):  
River Valley ◽  
Archaeological Sites ◽  
Forest Steppe ◽  
South Siberia ◽  
History Of ◽  
The 1950S ◽  
Xix Century ◽  
The City

The article introduces some information about the expeditionary studies on the archaeological sites located on the banks of the Middle Kiya River valley. The authors believe that the Kiya is one of the main rivers for such important historical and cultural area of South Siberia as the Kiya – Chulym interfluve. The expeditionary studies have been conducted here since the late XIX century; however, professional archaeological studies began as late as in the 1950s. The paper describes the excavations conducted by A. I. Martynov, G. S. Martynova, I. I. Baukhnik, A. M. Kilemzin, A. V. Tsirkin, A. P. Okladnikov, V. I. Molodin, V. V. Bobrov, A. S. Vasyutin, V. N. Zharonkin, P. V. German, A. V. Fribus, and P. G. Sokolov. It focuses on the carefully planned excavations conducted on the banks of the middle forest-steppe part of the Kiya River valley. Seven expeditions discovered eighty previously unknown archaeological sites. While performing the historiographic mapping of archaeological sites, the authors took into account the type of artifact and the type of archaeological study. The authors analyzed the localization of the archeological sites near the villages of Shestakovo and Chumay and the city of Mariinsk published by A. M. Kulemzin and I. I. Baukhnik and compared them with the results of the mapping. They defined the territory as a single Middle-Kiya archaeological microdistrict that includes the archaeological complexes of Shestakovo, Chumay, and Archekas (Mariinsk). The article also includes some preliminary ideas about the types of archaeological studies, as well as typological and chronological description of the monuments.

Production and Distribution of Electricity in Bordeaux, 1887–1956: Private and Public Operators

1996 ◽  
Vol 5 (2) ◽  
pp. 159-170 ◽  
Author(s):  
Alexandre Fernandez
Keyword(s):  
Power Supply ◽  
Electricity Supply ◽  
Private Companies ◽  
Electric Power Supply ◽  
The People ◽  
Production And Distribution ◽  
Private And Public ◽  
History Of ◽  
The City ◽  
Means Of Production

Like other cities, Bordeaux discovered the phenomenon of electricity by the end of the nineteenth century and tamed it during the first third of the twentieth century. Here, as elsewhere, one could follow the stages in the diffusion of the uses of electricity. But tackling the history of the electricity industry in Bordeaux means, perhaps more than elsewhere, getting involved with the evolution of the governing bodies which have dominated the process of electrification. Indeed, Bordeaux presents the case, very rare in France of a town which has known several juridical changes in the development of generation and distribution of electricity. From the start, until 1919, the construction of the network and its exploitation were taken care of by private companies. At this date, the Council appropriated the means of production and of distribution of electricity; the authority which was created then remained in existence beyond the general nationalisation of 1946, until 1956, when the city entrusted its electricity supply to the national company Electricité de France (EDF). How can these statutory changes be explained? We shall see that they can primarily be accounted for by shortcomings in the supply, whoever the operator may have been at the time. Indeed, in this field, supply first created demand and thus engendered the first faltering attempts in electricity. But, then, on several occasions, the electric power supply hit financial and technical snags. The change of juridical status then appeared as the solution to the people in charge.

scholarly journals Locating the canon in Tamworth: historical narratives, cultural memory and Australia's ‘Country Music Capital’

Popular Music ◽  
2013 ◽  
Vol 32 (2) ◽  
pp. 223-240 ◽  
Author(s):  
Sarah Baker ◽  
Alison Huber
Keyword(s):  
Cultural Memory ◽  
New South ◽  
New South Wales ◽  
Music History ◽  
Country Music ◽  
Historical Narratives ◽  
Past Work ◽  
South Wales ◽  
The City

AbstractThis article concerns the regional city of Tamworth, New South Wales, Australia, a place that prides itself on its reputation as Australia's home of country music. We consider the ongoing memorialisation of country music in Tamworth, and how the processes associated with the project of articulating country music's past work to create and maintain something that can be recognised (and experienced) as a dominant narrative or an Australian country music ‘canon’. Outlining a number of instances in which the canon is produced and experienced (including in performances, rolls of honour and monuments built around the city), the article explores the ways in which this narrativisation of Australia's country music history contributes to a certain kind of memory of the genre's past.

Cycles of Cathay

Transfers ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 95-120 ◽  
Author(s):  
Edward J.M. Rhoads
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Back Seat ◽  
Wide Range ◽  
Primary Means ◽  
History Of ◽  
Late Nineteenth ◽  
The 1950S ◽  
Personal Transportation ◽  
The City

Introduced into China in the late nineteenth century, the bicycle had to compete with a variety of alternative modes of personal transportation that for a number of years limited its appeal and utility. Thus, during the 1920s and 1930s it took a back seat to the hand-pulled rickshaw and during the 1940s to the pedicab (cycle rickshaw). It was only in the 1950s that the bicycle became the primary means of transportation for most urban Chinese. For the next four decades, as its use spread from the city to the countryside, China was the iconic “bicycle kingdom.“ Since the 1990s, however, the pedal-powered bicycle has been overtaken by the automobile (and motorcycle). Nevertheless, with the recent appearance and growing popularity of the e-bike, the bicycle may yet play an important role in China's transport modal mix. This overview history of the bicycle in China is based on a wide range of textual sources in English and Chinese as well as pictorial images.

Aida Times Two: How Italian Veterans of Two Historic Aida Productions Shaped Argentina’s Music History

2016 ◽  
Vol 28 (1) ◽  
pp. 79-105 ◽  
Author(s):  
Aníbal Enrique Cetrangolo
Keyword(s):  
Chamber Music ◽  
Buenos Aires ◽  
Music History ◽  
International Networks ◽  
Wide Range ◽  
Musical History ◽  
European Immigrants ◽  
History Of ◽  
Formed Part ◽  
The City

AbstractAida famously inaugurated the Teatro Colón in Buenos Aires in 1908, but the musical history of the city is also linked to two earlier productions of the piece: its debut in Cairo in 1871, and another legendary performance, in Rio de Janeiro in 1886. This article retraces the steps of five Italian musicians who played in the orchestras of the Cairo or Rio productions before moving to Buenos Aires, and thereby formed part of the vast Italian emigration to Argentina in the final decades of the nineteenth century. Once there, Pietro Melani, Tomaso Marenco, Giovanni Grazioso Panizza, Italo Casella and Ferruccio Cattelani radically transformed the concert life of the city through their musical activities, not least through their introduction of a wide range of orchestral and chamber music repertoire. By reconstructing their trajectories, I argue for a stronger focus on international networks in thinking about the history of Italian opera at this time and for a greater attention to the contributions of performers who would later fall into obscurity. In addition, I suggest that the insignificant attention given to such figures even in Argentinean narratives would seem to indicate the persistence of a historiography that plays down the contributions of European immigrants in the musical history of the city and the nation.

scholarly journals Iguales problemas, idénticas soluciones. El Monte de Piedad de Buenos Aires y su respuesta a la usura (1877-1904)

2021 ◽  
pp. 57-70
Author(s):  
Graciela Mateo Pietro
Keyword(s):  
Buenos Aires ◽  
Social Function ◽  
Primary Sources ◽  
Buenos Aires Province ◽  
The Poor ◽  
The Social ◽  
History Of ◽  
The Rich ◽  
Siglo Xix ◽  
The City

“Al rico nunca le ofrezcan / y al pobre jamás le falten”. Estos versos del Martín Fierro -obra maestra de la narrativa gauchesca argentina- remiten al Monte de Piedad de Buenos Aires: por un lado, esencializan la función social como institución proveedora de crédito a los sectores desamparados de la sociedad, y por otro permiten identificar a su autor, José Hernández, como miembro del Consejo de Administración de la entidad y tenaz defensor de su continuidad.El presente artículo estudia, a partir de los antecedentes del crédito pignoraticio y del rol desempeñado por los montepíos nativos a mediados del siglo XIX, el origen y la trayectoria del Monte de Piedad de Buenos Aires, destinado a aliviar las penurias de los sectores vulnerados, tanto nativos como inmigrantes, evitando que sean víctimas de la usura. En tal sentido y desde una perspectiva macro que dé cuenta de la situación económico- financiera del país y particularmente de la provincia de Buenos Aires, se privilegia el análisis micro de las distintas etapas de la historia de este entidad y de su función social; desde su fundación en 1877 dependiente del Banco de la Provincia de Buenos Aires, su incorporación una década después al patrimonio municipal y su conversión en 1904 en Banco Municipal de Préstamos. El punto de partida es un estado de la cuestión sobre el tema. Las fuentes primarias (Libros de Actas, Memorias y balances, Cartas orgánicas, Reglamentos de la institución, Diario de Sesiones de la Legislatura bonaerense y del Consejo Deliberante de la ciudad de Buenos Aires) así como algunas publicaciones periódicas de la época, resultan sustantivas para lograr el objetivo propuesto. “Never offer to the rich /and may the poor never lack” These verses by Martín Fierro -a masterpiece of Argentine gaucho narrative- represent the Monte de Piedad in Buenos Aires and its development. In a way, they essentialize the social function of this institution that provides credit to the underprivileged sectors of society. Besides, this affirmation allows to identify its author, José Hernández, as a member of the entity’s Board of Directors and a tenacious defender of its continuity.This article is based on the antecedents of the pledge credit and the role played by the native montepíos in the mid-19th century. Its focused in the study of the origin and trajectory of Monte de Piedad in Buenos Aires, as an institution which alleviated the hardships of the vulnerable sectors, both natives and immigrants, and prevented them from being victims of usury. Both macro and micro perspectives converge in this analysis. Firstly, the argentine economic and financial situation is taken into account to get to Buenos Aires’ province evaluation. Secondly, the history of this entity’s social function is examined since it was founded in 1877 (under the Bank of the Province of Buenos Aires), to its incorporation a decade later into the municipal patrimony and its conversion into the Municipal Bank of Loans, in 1904.The article starts with a bibliographic review of this particular subject. The proposed objective is achieved by analyzing diverse primary sources (Minutes Books, Memories and balances, Organic Letters, Institution Regulations, Journal of Sessions of the Buenos Aires Legislature and the Deliberative Council of the city of Buenos Aires) as well as the main periodical publications of the time.

scholarly journals Science and Agribusiness in the History of Pig Factory Farming in Ontario

2021 ◽  
Vol 10 (2) ◽  
pp. 187-199
Author(s):  
Miguel Mundstock Xavier de Carvalho
Keyword(s):  
Food System ◽  
Primary Sources ◽  
Feed Conversion ◽  
Factory Farming ◽  
Or Efficiency ◽  
Pig Production ◽  
Farm Model ◽  
History Of ◽  
The 1950S ◽  
Historical Moment

The article explores some of the connections between science and agribusiness in the history of pig factory farming in Ontario, Canada, between the 1950s and the present. The factory farm model of pig production submits animals to a very artificial way of life, which would not be possible without the inputs of scientific and technological innovations of the 20th century. Topics discussed include the use of antibiotics, swine nutrition, feed conversion (in)efficiency, and pork promotion and consumption. The primary sources utilized are a trade magazine, a census of agriculture, and other government and industry publications. The article sheds light on how notions such as “progress”, “improvement”, “modern” or “efficiency”, frequently used by scientists when referring to results of pig production, are restricted to narrow or internal considerations of the industry that, in turn, can be challenged by broader analysis of aspects (social, economic, environmental) of the food system. Scientists have not just produced scientific knowledge but in some cases have also promoted ideologies about animals and the food system. These ideologies of “progress”, “improvement”, “modern” or “efficiency”, as in the context of pig production in Ontario, only make sense if we understand the particular historical moment in the analysis, which since the 1950s has markedly been one of strong agribusiness interventionism.

scholarly journals ‘The little that I have done is already gone and forgotten’:Farinelli and Burney Write Music History

2015 ◽  
Vol 27 (3) ◽  
pp. 215-238 ◽  
Author(s):  
Anne Desler
Keyword(s):  
Eighteenth Century ◽  
Public Perception ◽  
Music History ◽  
Primary Sources ◽  
History Of ◽  
Historical Fact ◽  
Promotion Strategies ◽  
Historical Writings ◽  
Careful Manipulation ◽  
High Degree

AbstractEighteenth-century narratives of Carlo Broschi Farinelli’s inimitability and superiority did not arise fortuitously but resulted to a large extent from artistic, professional and personal choices made by the singer in order to create a unique artistic profile and influence public perception of him. Similarly, Charles Burney created his historical writings with the aim of establishing himself as a man of letters in order to rise in social status and leave a lasting legacy. Analysis of Farinelli’s careful manipulation of his reputation in his encounters with Burney and the latter’s calculated representation of Farinelli in The Present State of Music in France and Italy and A General History of Music sheds light not only on both men’s self-promotion strategies, but also on the high degree of mediation of historical fact in writings that have long served as supposedly reliable ‘primary’ sources on eighteenth-century music.

The Birth of the Nashville Recording Industry

2020 ◽  
pp. 25-62
Author(s):  
Travis D. Stimeling
Keyword(s):  
New York ◽  
World War Ii ◽  
Los Angeles ◽  
Ad Hoc ◽  
New Technologies ◽  
State Of The Art ◽  
Country Music ◽  
Recording Industry ◽  
Mainstream Press ◽  
The City

Country music was recorded in Nashville as early as the 1920s, but it was not until the mid-1950s that the city became a significant center for the production of recorded country music. This chapter traces the development of Nashville’s recording studio infrastructure from ad hoc facilities used in the decade following the end of World War II to the mid-1970s, when the city was home to several state-of-the-art permanent recording facilities. This chapter not only explores the business of recording in Nashville, but also examines how new technologies that were deployed within the city’s recording studios changed the ways in which musicians created their work (Horning 2013). Finally, this chapter considers how trade publications, the mainstream press, and films promoted Nashville as both a state-of-the-art recording center and a relaxed, small-town alternative to urban recording industries in New York, Chicago, and Los Angeles.

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