By Abbey Klaassen (Editor)
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Additional resources for Advertising Age - 21 March 2011
68 A different survey from 1927 revealed: Fully 70 per cent of the letters written to WEAF by admiring listeners in 1922 were in response to dance or jazz programs, 25 percent to classical programs, Chapter 1 30 and 5 per cent to so-called educational features. A year later, jazz dropped to about 35 per cent of the response, classical music rose to 35 per cent, and educational talks . . increased to 35 percent. 71 Building a Program Let me now turn to the question of devising a program, and the question of translating print advertising practices to sound.
Broadcast] advertisement must attract the ear. It is usually done by the opening announcement or in some case an orchestra plays an introductory musical selection before a word is spoken. ”74 He offered several examples, including the Maxwell House Concert program, which took as its theme song the “Old Colonel March,” and wrote, “The old southern colonel referred to is no other than the gentleman often pictured in the magazine advertisements, on billboards . . ’”75 In this way, advertisers could remind listeners of their sponsored programs and reinforce the sales work done by their programs.
Finally, a note on sources. The empirical basis of this book is archival research, reading of the voluminous trade press, and interviews with workers in the advertising industry, past and present. Doubtless there are some historians who will quibble with my use of some or all of the above, for theirs is the task of separating truth from fabrication. But the goal I have set for myself in this book is only partially that of telling the “true” story of music used in advertising; I am just as interested in uncovering the ideologies, the discourses, that circulated in particular periods in American history when the music in question was produced.
Advertising Age - 21 March 2011 by Abbey Klaassen (Editor)