Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-29T20:12:12.680Z Has data issue: false hasContentIssue false

Visualising 1950s hits on Your Hit Parade1

Published online by Cambridge University Press:  11 November 2008

Extract

Although many TV shows from the 1950s seem very odd when viewed today, one of the most peculiar relics of all is Your Hit Parade. This is especially true in light of our current understanding of what it means to visualise a song on television. Although music video looked strange when first seen in the 1970s and early 1980s, it is now highly conventionalised and part of the cultural backdrop. By contrast, Your Hit Parade gropes uneasily to connect the radio past with the burgeoning and increasingly estranged record and television industries of the 1950s. As an aesthetic document, Your Hit Parade is instructive in its display of unproductive tensions: narrative and dramatic visualisations clashing with a simpler, non-representational variety style; pop domesticating an inchoate rock and roll; and a lackadaisical parade struggling to become a quasi-eventful countdown.

Type
Articles
Copyright
Copyright © Cambridge University Press 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Berg, C.M. 1987. ‘Visualizing music: the archaeology of music video’, One Two Three Four, 5, pp. 94103Google Scholar
Brooks, T. and Marsh, E. 1979. The Complete Directory to Prime Time Network TV Shows, 1946–Present (New York)Google Scholar
Burns, G. 1988A. ‘Dreams and mediation in music video’, Wide Angle, 10:2, pp. 4161Google Scholar
Burns, G. 1988B. ‘Film and popular music’, in Film and the Arts in Symbiosis: A Resource Guide, ed. Edgerton, G.R. (New York)Google Scholar
Burns, G. 1997. ‘Where the Action Is: Dick Clark's precursor to music video’, Journal of Popular Film & Television, 25:1, pp. 31–7.CrossRefGoogle Scholar
Burns, G. and Thompson, R. 1987. ‘Music, television, and video: historical and aesthetic considerations’. Popular Music and Society, 11:3, pp. 1125CrossRefGoogle Scholar
Eberly, P.K. 1982. Music in the Air: America's Changing Tastes in Popular Music, 1920–1980 (New York)Google Scholar
Elrod, B.C. 1977. Your Hit Parade (Columbia, SC)Google Scholar
Elrod, B.C. 1994. Your Hit Parade & American Top Ten Hits, 4th edn. (Ann Arbor)Google Scholar
Frith, S. 1987 ‘The industrialization of popular music’, in Popular Music and Communication, ed. Lull, J. (Newbury Park, CA), pp. 4974Google Scholar
Gitlin, T. 1983. Inside Prime Time (New York)Google Scholar
Hilmes, M. 1985. ‘The television apparatus: direct address’, Journal of Film and Video, 37:4, pp. 2736Google Scholar
Holmes, J.R. 1989. ‘The wizardry of Ozzie: breaking character in early television’, Journal of Popular Culture, 23:2, pp. 93102CrossRefGoogle Scholar
Sanjek, R. 1988. American Popular Music and Its Business: The First Four Hundred Years, Volume III: from 1900 to 1984 (New York)Google Scholar
Shaw, A. 1974. The Rockin' '50s (New York)Google Scholar
Shore, M. 1984. The Rolling Stone Book of Rock Video (New York)Google Scholar
Summers, H.B. 1958. A Thirty-Year History of Programs Carried on National Radio Networks in the United States 1926–1956 (Columbus, OH)Google Scholar
Williams, J.R. 1973. This Was ‘Your Hit Parade’ (Camden, ME)Google Scholar
Wolfe, A.S. 1985. ‘Pop on video: narrative modes in the visualisation of popular music on ldquo;Your Hit Parade” and “Solid Gold”’, in Popular Music Perspectives 2, ed. Horn, D. (Göteborg), pp. 428–41Google Scholar