Word: ertegun
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Dates: during 1980-1989
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Twenty years ago, Bodrum, Turkey, seemed like a town that time had forgotten. "It was a small fishing village," remembers Atlantic Records Chairman Ahmet Ertegun. "The main activities were fishing and sponge diving, as well as work in agriculture -- citrus trees, olive trees." There were a few foreigners to be found haggling over prices with merchants at the bazaar, and a handful of tourists viewing the city's ancient ruins...
...Crusader castle that dominates the town, about 200 gulets -- motor-equipped sailboats built by local craftsmen -- take tourists out for a week or a month in the unspoiled waters off Turkey's Aegean and Mediterranean coasts. Halicarnas, an enormous open-air disco, pumps music and shoots lasers until dawn. Ertegun, who was born in Istanbul and came to the U.S. as a boy, now owns a sumptuous villa in Bodrum where he entertains such glitterati as Mick Jagger and Oscar de la Renta...
...either soul or oldies stations. And they play even less white music on black radio. Says Jon Landau, the onetime rock critic who now manages Bruce Springsteen: "The cross-fertilization between black music and white music that created rock has greatly diminished." But, argues Atlantic Records Chairman Ahmet Ertegun, "radio doesn't play according to what its prejudices are. Radio plays according to results...
Jerry Wexler, Ertegun's former partner who helped produce some of the best soul sides ever cut, offers a more sweeping reason for the languishing rock culture. Contrary to the shared assumptions of the Woodstock generation, he insists, "rock isn't the best possible tool for insulting your parents or establishing the fact that you are a free person. Kids are too cool for that now." Certainly the music is cool, not in Wexler's hipster sense, but in mean degrees. A go-for-broke performer-someone who, like Springsteen or Pete Townshend, has the temerity...
...SECOND ESSAY of Within the Context of No Context, represents Trow's attempt to illustrate some of the conclusions he reached in the first title essay. In it he profiles Ahmet Ertegun, founder and president of Atlantic Records, one of the truly powerful musical taste-makers in rock and R&B, and a quintessentially beautiful person. Trow does a capable job of portraying Ertegun and his set and depicting the rise of someone of Ertegun's entrepreneurial ilk. But Trow falls short when he ladles the commentary and the terminology of the first essay onto Ertegun and company. Undoubtedly...