Last Night a DJ Saved My Life (updated): The History of the Disc Jockey

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shellac like the usual 78s but on "luxurious lightweight vinylite," i.e. vinyl. It spun at the novel speed of 33 rpm, had a playing time of thirty minutes, and contained a whole program, complete with announcements The American Federation of Musicians, a tight-knit closed shop union, declared the DJ to be the enemy of the musician and fought long and hard to prevent records being broadcast on radio. The AFM were aided in this by the Federal Radio Commission, who as Arnold Passman wrote, “attempted everything this side of public hangings to curb the practice.”

Last Night A DJ Saved My Life - Velocity Press Bill Brewster: Last Night A DJ Saved My Life - Velocity Press

Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (in Spanish) (1sted.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2. Oppelaar, Justin (2000-10-01). "LAST NIGHT A DJ SAVED MY LIFE (review)". Variety. Archived from the original on 2007-12-27 . Retrieved 2007-10-30.

increased. Soon only the big new radio networks such as NBC and CBS could afford to broadcast only live music. These British music-mag writers deliver the goods with humor and a basic sense of good storytelling.”— Vibe Allied to the musicians were the music publishers, then the most powerful part of the music industry. At the time of radio's birth, sheet music was still the dominant popular musical commodity, and songwriters were the stars of the day. When the What was the very first record played by a DJ? It was a woman (probably Clara Butt) singing Handel’s Largo. Almost immediately, the presence of records on the radio aroused opposition. In the U.S., the Department of Commerce granted preferential licenses to stations that didn’t use recorded music, since there was a feeling that playing records was a rather inferior style of broadcasting—mainly because live music gave far superior sound reproduction. In 1927 the industry’s new governing body, the Federal Radio Commission, reemphasized that phonograph performances were “unnecessary.”

Last Night a DJ Saved My Life - The New York Times Web Archive Last Night a DJ Saved My Life - The New York Times Web Archive

A Sure-Fire Audience Builder For Your Station. A Powerful Selling-Vehicle For Your Sponsors" was how the discs, in this case Tiffany Transcriptions, were promoted. And musicians recall the mammoth A super interesting history of the DJ and his record collection. This book basically covers the time when a man or woman played a record in front of an audience. It covers stuff from the 20's to of course the Disco era to the Northern Soul. Top 100 Single-Jahrescharts". GfK Entertainment (in German). offiziellecharts.de . Retrieved April 14, 2021. sleepy nature of the medium in the years before 1935. Explaining that the evening was taken up by broadcasts from ballrooms and symphony halls, the magazine described the rest of the day's schedule.ad-libbed commercials helped them sell 300 refrigerators during a blizzard, and when he made a wartime appeal for pianos to entertain the troops, the USO were offered 1,500. As his influence grew, he held a contest to come Most stations could not afford the orchestras and productions that went into the network radio shows,” explained Ben Selvin, who worked for the leading transcription disc company. “And so we supplied nearly 300 stations with transcriptions that frequently—but not always—featured the most popular bands and vocalists.” Founded by Ellen Allien in 1999, Bpitch control is the sound of techno. With releases from Apparat, Paul Kalkbrenner, Telefon Tel Aviv, Métaraph and more, Allien’s label encompasses all manner of techno, & so many of these releases have changed the trajectory of electronic music. to God in the highest and on earth peace to men of good will" and played a few solos on his violin, together with some singing, which he admits "was not very good." In between all this, he became the world's

Last Night a D.J. Saved My Life - Wikipedia Last Night a D.J. Saved My Life - Wikipedia

The entry of broadcasting into the history of music has changed all forms of musical creation and reception. Radio music is a kind of magic and the radio set becomes a magic box.”—Helmut Reinhold Most stations could not afford the orchestras and productions that went into the network radio shows," explained Ben Selvin, who worked for the leading transcription disc company. "And so to at least 160 songs. However, in comparison to Freed, Clark's obvious conflicts of interest escaped scrutiny. He was hardly pursued, was never charged, and even had his sworn statement reworded so that he could sign questioned. It was seen as a great threat to employment by musicians and viewed with suspicion by those responsible for society's cohesion. It was even perceived as an economic threat by the record companies, who thought research were new records added to playlists. The DJ's role of selecting records was usurped by a new functionary: the Program Director, who was often little more than a market researcher in the service of the ad salesRadio's advertising potential was soon clear and in late 1920 the first fully-licensed commercial station, KDKA in Pittsburgh, started on air. KDKA—which soon gained fame for its coverage of the Musicians called the broadcast of recorded music "DeForest's prime evil." Stations paid no performance fee to the artists whose records they used, and every time one was played on the radio if they could hear it played for free. This fear was borne out by some Depression-era figures which showed that urban areas with popular radio stations were suffering a downturn in record sales (they were actually suffering man who changed the name, and who did more than anyone to popularize the music, aroused such controversy in doing so, that he would be investigated by the U.S. government for much of his professional life, an investigation inferior style of broadcasting—mainly because live music gave far superior sound reproduction. In 1927 the industry's new governing body, the Federal Radio Commission, reemphasized that phonograph performances

Last Night a DJ Saved My Life : The History of the Disc Jockey

Selvin recalled that some of the top artists made transcriptions under a phony name. The money was good, but they had to get around their existing record company contracts. Thus Tommy Dorsey became Harvey Tweed, and Ray Noble and Russ Morgan, other big stars of the time, became Reginald Norman and Rex Melbourne respectively.and promoting the underground bands of the emerging hippie movement, including then unsigned acts Jefferson Airplane and the Grateful Dead.