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Published: 13 April 2012
DOI: 10.1215/9780822395171-018
EISBN: 978-0-8223-9517-1
Series: The Latin America Readers
Published: 23 May 2014
DOI: 10.1215/9780822376521-102
EISBN: 978-0-8223-7652-1
Published: 09 September 2016
DOI: 10.1215/9780822373926-035
EISBN: 978-0-8223-7392-6
... momentum when Irene Cara and Giorgio Moroder’s “Flashdance” came out in April. A go-to remixer who could infuse twelve-inch releases with a dance personality while leaving the seven-inch and album versions free to circulate in a nonremixed state, Jellybean Benitez became the most influential intermediary...
Published: 09 September 2016
EISBN: 978-0-8223-7392-6
...-to remixer who could infuse twelve-inch releases with a dance personality while leaving the seven-inch and album versions free to circulate in a nonremixed state, Jellybean Benitez became the most influential intermediary between major labels and the dance floor. By the year’s end, critics could point...
Published: 09 September 2016
DOI: 10.1215/9780822373926-028
EISBN: 978-0-8223-7392-6
... during the first half of the 1970s. Loft regular Gail Bruesewitz experienced the disjuncture firsthand when she became marketing and promotions manager of twelve-inch singles at Columbia in August. Meanwhile Frankie Crocker pioneered the introduction of the urban contemporary format and commissioned his...
Published: 09 September 2016
EISBN: 978-0-8223-7392-6
.... The relative absence of the corporates provided independent labels with the kind of market freedom that had last existed during the first half of the 1970s. Loft regular Gail Bruesewitz experienced the disjuncture firsthand when she became marketing and promotions manager of twelve-inch singles at Columbia...