industrial musical
Industrial musical
From Wikipedia, the free encyclopedia
An indus… Read Full Bio ↴Industrial musical
From Wikipedia, the free encyclopedia
An industrial musical is a musical performed internally for the employees or shareholders of a business, to create a feeling of being part of a team, to entertain, and/or to educate and motivate the management and salespeople to improve sales and profit. It can be used to increase staff awareness of public relations, advertising, marketing or corporate image.
Other terms for industrial musicals include the corporate musical or industrial show, but the latter can also refer to trade shows, which are publicity events organized by businesses in a specific industry to promote their products to potential buyers.
Industrial musicals are not restricted to corporations or to businesses involved in industry. They should not be confused with industrial music, or with musicals produced by businesses to be seen by the general public, for example, Disney's stage production of The Lion King.
Contents
1 History
2 Titles of industrial musicals
3 Composers and lyricists
4 Quotations
5 See also
6 Notes
7 References
8 External links
History
Industrial musicals originated from company songs, anthems and jingles for promoting enthusiasm among workers. The songs were brought in by the management, as opposed to worker-created work songs. Internal musical groups could be formed to encourage company loyalty, keep employees happy, and to help advertise the company to the public. Early 20th century examples include IBM's internal songbook Songs of the IBM, and the Larkin Soap Company which organized community singing and had a women's drum corps, an orchestra, a ukulele club, and daily recitals on a pipe organ.
At some point, a collection of company songs was extended into a full musical theater format, and the industrial musical was born. Many of these musicals were made in North America during the economic boom that followed World War II, and this practice continued into the 1980s.
The earliest known industrial musicals were produced by retail and automotive companies such as Ford, General Motors, and the Marshall Field's chain of department stores. By the end of the 1950s and throughout the 1960s, other types of businesses also began to put on shows. Some musicals were part of annual showcase events for presenting a company's new line of products.
Businesses could spend a lot of money to produce a musical, hiring talented Broadway composers and lyricists. The pay was very good, the task was challenging, and from the theatre's point of view, the production costs were much higher than a regular Broadway musical. Shows could have as many as 30 people in the cast and a 60-piece orchestra. Composer Hank Beebe estimates that the 1957 Chevrolet musical was budgeted at over 3 million dollars (U.S.), because it cost six times the amount it took to bring My Fair Lady to the stage that same year.
The song performances were rarely heard outside of the companies they were written for, but sometimes the employees would be given a souvenir record album. Some productions lasted for a limited number of nights, while others traveled from city to city for regional sales meetings. According to composer John Kander, who conducted several industrial shows early in his career and wrote the music for the 1966 General Electric industrial Go Fly a Kite (the complete score from which was issued on a 2 LP set that was given to GE employees), the cast albums for these industrial shows "were never intended for commercial release. [...] It was sort of a separate world."[1] Yet it is largely through these albums that evidence of these shows has survived. To date, the corporations which commissioned these musicals have never published information about them and there has yet to be an in-depth study of the industrial musical as a genre.[2]
By the 1980s, industrial musicals were made less and less often. Jonathan Ward, a writer and DJ who collects industrial musical albums, theorizes that the reason for the decline was partially due to rising production costs for stage shows, and the availability of low-cost video and multimedia technology.
Ward thinks another reason for the decline was a change in work attitudes. In the 1950s and 1960s, employees might have expected to spend the majority of their working careers with one company. By the 1980s, employees and the management may have been less inclined to think this way. The feelings of company loyalty and community promoted in the song lyrics would have been met with more cynicism.
Despite the trends that affected industrial musicals, businesses have continued to make company songs. For example, KPMG produced a corporate anthem in 2001 called "Our Vision of Global Strategy."
[edit]Titles of industrial musicals
The Shape of Tomorrow — Westinghouse (1958)
Diesel Dazzle — General Motors (1966)
Go Fly A Kite — General Electric (1966)
The Bathrooms Are Coming — American Standard (1969)
Got To Investigate Silicones — General Electric (1973) (about Silicones)
Composers and lyricists
Hank Beebe
Jerry Bock
Michael Brown
Sheldon Harnick
Bill Heyer
Kander and Ebb
Sonny Kippe
Lloyd Norlin
Skip Redwine
Raymond Scott
Wilson Stone
Thomas Tierney
Charles Title
Quotations
"It's an easy thing to write a song about love. It's hard to write a song about spark plugs." — Wilson Stone.
"Do I really want to approach General Electric's army of lawyers with hat in hand and say, 'Would you mind if we put out your in-house propaganda as a kind of funny little project?' I think they would see red flags all over that." — collector Steve Young, on the possibility of making a commercially-available compilation of songs.
From Wikipedia, the free encyclopedia
An indus… Read Full Bio ↴Industrial musical
From Wikipedia, the free encyclopedia
An industrial musical is a musical performed internally for the employees or shareholders of a business, to create a feeling of being part of a team, to entertain, and/or to educate and motivate the management and salespeople to improve sales and profit. It can be used to increase staff awareness of public relations, advertising, marketing or corporate image.
Other terms for industrial musicals include the corporate musical or industrial show, but the latter can also refer to trade shows, which are publicity events organized by businesses in a specific industry to promote their products to potential buyers.
Industrial musicals are not restricted to corporations or to businesses involved in industry. They should not be confused with industrial music, or with musicals produced by businesses to be seen by the general public, for example, Disney's stage production of The Lion King.
Contents
1 History
2 Titles of industrial musicals
3 Composers and lyricists
4 Quotations
5 See also
6 Notes
7 References
8 External links
History
Industrial musicals originated from company songs, anthems and jingles for promoting enthusiasm among workers. The songs were brought in by the management, as opposed to worker-created work songs. Internal musical groups could be formed to encourage company loyalty, keep employees happy, and to help advertise the company to the public. Early 20th century examples include IBM's internal songbook Songs of the IBM, and the Larkin Soap Company which organized community singing and had a women's drum corps, an orchestra, a ukulele club, and daily recitals on a pipe organ.
At some point, a collection of company songs was extended into a full musical theater format, and the industrial musical was born. Many of these musicals were made in North America during the economic boom that followed World War II, and this practice continued into the 1980s.
The earliest known industrial musicals were produced by retail and automotive companies such as Ford, General Motors, and the Marshall Field's chain of department stores. By the end of the 1950s and throughout the 1960s, other types of businesses also began to put on shows. Some musicals were part of annual showcase events for presenting a company's new line of products.
Businesses could spend a lot of money to produce a musical, hiring talented Broadway composers and lyricists. The pay was very good, the task was challenging, and from the theatre's point of view, the production costs were much higher than a regular Broadway musical. Shows could have as many as 30 people in the cast and a 60-piece orchestra. Composer Hank Beebe estimates that the 1957 Chevrolet musical was budgeted at over 3 million dollars (U.S.), because it cost six times the amount it took to bring My Fair Lady to the stage that same year.
The song performances were rarely heard outside of the companies they were written for, but sometimes the employees would be given a souvenir record album. Some productions lasted for a limited number of nights, while others traveled from city to city for regional sales meetings. According to composer John Kander, who conducted several industrial shows early in his career and wrote the music for the 1966 General Electric industrial Go Fly a Kite (the complete score from which was issued on a 2 LP set that was given to GE employees), the cast albums for these industrial shows "were never intended for commercial release. [...] It was sort of a separate world."[1] Yet it is largely through these albums that evidence of these shows has survived. To date, the corporations which commissioned these musicals have never published information about them and there has yet to be an in-depth study of the industrial musical as a genre.[2]
By the 1980s, industrial musicals were made less and less often. Jonathan Ward, a writer and DJ who collects industrial musical albums, theorizes that the reason for the decline was partially due to rising production costs for stage shows, and the availability of low-cost video and multimedia technology.
Ward thinks another reason for the decline was a change in work attitudes. In the 1950s and 1960s, employees might have expected to spend the majority of their working careers with one company. By the 1980s, employees and the management may have been less inclined to think this way. The feelings of company loyalty and community promoted in the song lyrics would have been met with more cynicism.
Despite the trends that affected industrial musicals, businesses have continued to make company songs. For example, KPMG produced a corporate anthem in 2001 called "Our Vision of Global Strategy."
[edit]Titles of industrial musicals
The Shape of Tomorrow — Westinghouse (1958)
Diesel Dazzle — General Motors (1966)
Go Fly A Kite — General Electric (1966)
The Bathrooms Are Coming — American Standard (1969)
Got To Investigate Silicones — General Electric (1973) (about Silicones)
Composers and lyricists
Hank Beebe
Jerry Bock
Michael Brown
Sheldon Harnick
Bill Heyer
Kander and Ebb
Sonny Kippe
Lloyd Norlin
Skip Redwine
Raymond Scott
Wilson Stone
Thomas Tierney
Charles Title
Quotations
"It's an easy thing to write a song about love. It's hard to write a song about spark plugs." — Wilson Stone.
"Do I really want to approach General Electric's army of lawyers with hat in hand and say, 'Would you mind if we put out your in-house propaganda as a kind of funny little project?' I think they would see red flags all over that." — collector Steve Young, on the possibility of making a commercially-available compilation of songs.
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Behind Every Man Is A Woman
American-Standard Lyrics
We have lyrics for these tracks by American-Standard:
A Greeting turn 18 no one can save ya gradually grow more unstable need…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@dcarr-kr7hk
@ThePattipage... I would never marry one (and I was approached and asked -- more than once when I lived there).
I have NEVER understood the appeal of marrying any man who has nothing to show but empty words.
I once told an African man that I would burn in hell rather than take care of any man. I was not interested in him. Was not leading him on. Was doing just the opposite but he had some thought that I was going to financially support him.
African men (regardless of the age of women) are abusive. ABUSIVE!!!!
I just don't get the appeal.
I never, ever would bother.
@jayekaye5638
@jeremiah1966
The respective women you speak of were not whores.
These women migrated to the African Continent with repatriation ideals.
They tried to better the living conditions for local citizens, as well as for themselves; within their locale.
Many of these women bought land, and started businesses.
Sexual liaisons were not foremost on their minds.
One of them was actually accompanied by a minor family member.
We do know that at least one of these ladies married a local man. Does that sound as though she was whoring?
Unlike the respective men you speak of (Passport Bros)...who travel from country to country looking for nothing except multiple sex partners...you are way off track with your statement.
You are comparing Apples to Rose Bushes.
Grow Up; Acknowledge The Truth.
@jayekaye5638
@wendygreene8698
Actually, a successful, traditional, marriage should be based on the man LOVING the woman, and the woman RESPECTING the man...according to The Bible.
Those 'moneyl' based relationships in Africa rarely last between melanated couples...young or old...because the financial supporter will soon feel 'used', and the financial receiver will in turn feel disrespected or abused.
This type of relationship failure does not happen as often in a African-Caucasian or African-Asian financial arrangement.
In my opinion, indigenous Africans greatly respect non-melanated people, and expect them to have a higher level of living and resources.
They feel this is normal.
Envy occurs when indigenous Africans see people of their own complexion (African Americans) living as well as Non-black segments of society.
Indigenous Africans feel ashamed that people of their own "race" are living better than most African Citizens.
Indigenous Africans resent African American's opportunities and higher standard of living because
in their minds... this goes against the laws of societal nature.
In their minds, we should be on the same level as they are...since we have the same skin.
Often, these romantic-sexual relationships are temporary... dissolved when the finances and/or opportunities have dried up...or when the African has achieved their status/ benefit objective.
African Americans must be cautious.
@johntewithers5444
I swear I was just talking to my wife about this 2 days ago. We are from Detroit, MI and even here I’ve noticed a lot of black American women have so many requirements when dating a black American men but when they deal with men from Africa they are willing to be the provider for the man AND all of a sudden become open to polygamy. I literally have an aunt that sends money overseas to her broke “Ghanaian husband” every month but wouldn’t ever do that for any “black American man”
@biancalord488
Wow 😮
@museimusei9744
Them gambian men must thank god when they fly back to the USA 😅
@ianditwin7443
What it proves is men aren't supposed to lead with money. These women are ruled by feelings and attraction. The dudes around your aunt, aren't tapping into that part of her. The money thing is just an excuse women use.
@IAMDPP
I’m not surprised.
@b9479
@@ianditwin7443women are naturally ruled by feelings and attraction
@rui37CdjOe
You’re telling the truth! I’m an older woman and visited the Gambia, I was harassed by the younger and older begging Gambian men while there. It was so disgusting! For this reason plus all the trash and filth I’m not returning to the Gambia. Also, it’s true that all the good ones are taken. It’s always been that way. My sister was on the continent in the 60’s serving in the peace corps. She fell madly in love and of course found out that the highly desirable man’s family had already chosen a wife for him!
@HawaBintYusuf
Arrange marriage is very common here in the Gambia. Even for the locals here, dating is not a criteria for marriage. If his family knows you guys have been messing around, you're mostly not gonna marry him.
@anitahowell7945
Why are these women acting so desperate over these men 🤦🏽♀️
@malachibenyisrael4621
@@anitahowell7945
Power & control