The ‘new’ culture industries, dance halls, radio, gramophones and cinema, that had risen to mass popularity since the 1920s were to some extent nationalised cultures, with widespread and often universalised economic infrastructures. They provided the general public with access to music and leisure activities even in more remote, rural areas (see below). There were two domestic media of musical experience, radio and gramophone records, and two which were public and social, dancing and cinema-going.
Technological advances over the previous decades had enabled music to become a ubiquitous, and largely cheap, commodity, and had dramatically changed the general public’s access to music and habits of listening (see below). Moreover, as Ehrlich argues, music technologies broke the link between musical demand and live performance, and increasingly privatised the listening experience.
By the late 1930s, these ‘new’ mass culture industries had established structures and settings, and were supported by powerful instruments of musical promotion: recording, publishing, and broadcasting. With the exception of broadcasting, they were driven by economic rather than aesthetic values, and musical experience became part of a wider consumer culture that prioritised ‘popular tastes’ and sought popularity for their musical products. Overall, the 1930s were a time of ‘economic downturn’ in Britain, but the histories of these mass entertainment industries each document ‘booms’ of attendance and use that reinforced their centrality.
Source: A Study of the Experience of Listening to Music in World War Two Britain by Kerri-Anne Edinburgh.
The Nurons - Hurry Up Tomorrow
"The Nu'Rons, a family group consisting of two sets of brothers & cousins; Daryl Howard, Ray Howard, Otho Bateman & Charles Bateman, began their singing career prior to their teenage years. Finding their voice at their local Church singing gospel, the group."
Smokey Robinson – Cruisin'
Technological advances over the previous decades had enabled music to become a ubiquitous, and largely cheap, commodity, and had dramatically changed the general public’s access to music and habits of listening (see below). Moreover, as Ehrlich argues, music technologies broke the link between musical demand and live performance, and increasingly privatised the listening experience.
By the late 1930s, these ‘new’ mass culture industries had established structures and settings, and were supported by powerful instruments of musical promotion: recording, publishing, and broadcasting. With the exception of broadcasting, they were driven by economic rather than aesthetic values, and musical experience became part of a wider consumer culture that prioritised ‘popular tastes’ and sought popularity for their musical products. Overall, the 1930s were a time of ‘economic downturn’ in Britain, but the histories of these mass entertainment industries each document ‘booms’ of attendance and use that reinforced their centrality.
Source: A Study of the Experience of Listening to Music in World War Two Britain by Kerri-Anne Edinburgh.
The Nurons - Hurry Up Tomorrow
- Recorded in 1980 at Sigma Sound Studios
- Written and produced by lead singer of the Nu'Rons, Daryl Howard.
"The Nu'Rons, a family group consisting of two sets of brothers & cousins; Daryl Howard, Ray Howard, Otho Bateman & Charles Bateman, began their singing career prior to their teenage years. Finding their voice at their local Church singing gospel, the group."
Smokey Robinson – Cruisin'
- Release Date: May 22, 1979
- From the album Where There's Smoke...
"Everyone Must Hear supplement that when he wrote this song, his guitarist Marv Tarplin had already written the music. Smokey added: "He put it on cassette and gave it to me to write the lyric. As it turned out, it took me five years to write."
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