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Hustlers and Amateurs
by
Albin J. Zak
in
Aesthetics
/ Applied aesthetics
/ Artists
/ Arts
/ Axiology
/ Business
/ Cultural industries
/ Economic disciplines
/ Economics
/ Employment
/ Industrial sectors
/ Industry
/ Labor economics
/ Music
/ Music ensembles
/ Music genres
/ Music industry
/ Music theory
/ Musical aesthetics
/ Musical bands
/ Musical performance
/ Musical pitch
/ Musical register
/ Musical rhythm
/ Musical time
/ Musicians
/ Occupations
/ Performing arts
/ Philosophy
/ Popular music
/ Singers
/ Vocal music
2010
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Hustlers and Amateurs
by
Albin J. Zak
in
Aesthetics
/ Applied aesthetics
/ Artists
/ Arts
/ Axiology
/ Business
/ Cultural industries
/ Economic disciplines
/ Economics
/ Employment
/ Industrial sectors
/ Industry
/ Labor economics
/ Music
/ Music ensembles
/ Music genres
/ Music industry
/ Music theory
/ Musical aesthetics
/ Musical bands
/ Musical performance
/ Musical pitch
/ Musical register
/ Musical rhythm
/ Musical time
/ Musicians
/ Occupations
/ Performing arts
/ Philosophy
/ Popular music
/ Singers
/ Vocal music
2010
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Do you wish to request the book?
Hustlers and Amateurs
by
Albin J. Zak
in
Aesthetics
/ Applied aesthetics
/ Artists
/ Arts
/ Axiology
/ Business
/ Cultural industries
/ Economic disciplines
/ Economics
/ Employment
/ Industrial sectors
/ Industry
/ Labor economics
/ Music
/ Music ensembles
/ Music genres
/ Music industry
/ Music theory
/ Musical aesthetics
/ Musical bands
/ Musical performance
/ Musical pitch
/ Musical register
/ Musical rhythm
/ Musical time
/ Musicians
/ Occupations
/ Performing arts
/ Philosophy
/ Popular music
/ Singers
/ Vocal music
2010
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Hustlers and Amateurs
2010
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Overview
Wayne “Buddy” Knox was twenty-three years old when he recorded “Party Doll” in 1956. He later told an interviewer that he had written the song years earlier when he was “just a kid,” maybe fifteen, entertaining himself on his parents’ farm near Happy, Texas, after chores were done.¹ He traveled to Clovis, New Mexico, just over the state line, in search of a recording studio he had learned of from a fellow West Texan musician, Roy Orbison. Established for company business by the Atchison, Topeka and Santa Fe Railway in 1907, Clovis was an unlikely location for a studio, but
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