About

Capabilities
  • Desktop Display
    • Brand Integrations
      Yes No
    • Sponsored Posts
      Yes No
    • Native Ads
      Yes No
    • High-Impact (Takeovers, Billboards, Overlays, Sliders, Skins)
      Yes No
    • Rich Media (Expandable & Non-Expandable)
      Yes No
  • Mobile Display
    • Mobile Rich Media (Including Interstitials & Expandables)
      Yes No
    • Tablet Traffic
      Yes No
    • Native & Custom Mobile Executions
      Yes No
    • Requires SDK Integration
      Yes No
  • Email
  • Social
  • Desktop Display, Mobile Display, Email, Social
  • CPM
  • Web Publisher
  • Headline:
    Publisher
  • Key Differentiator
    There are many roads to jazz, as any collection of fans will demonstrate. But for many of those fans, whose age today can fall anywhere between 10 and 80, that road has been paved with issues of DownBeat magazine. Over the decades it has instructed, recommended, criticized, praised, condemned, advocated and, in the aggregate, honored the most dynamic American music of the twentieth century. Millions have been led to records and artists on the strength of a DownBeat review, news tip, or profile. It has shaped young tastes in need of guidance and challenged older ones in need of a wake-up call. In the 1930s, before any important book on jazz had yet been written, DownBeat collected the first important body of pre-1935 jazz history. It became a monthly, then semi-monthly, a diary of the swing era as it happened, then tracked the progression of bop, pop, rock, freedom, fusion, and nineties neoclassicism, all from the perspective of the musician. Hard to believe it began by selling insurance. "You Can't Sell 'em Both" Albert J. Lipschultz was neither a full-time musician nor a professional journalist. He had no interest in leading a band, acquiring power, or editorializing on the affairs of the world. Al Lipschultz had only one interest. That was selling insurance. After washing out as a saxophone player in Chicago during the years of World War I, he looked for better opportunities. Soon he found one that let him use his contacts in music. Starting in 1921, he began to cultivate an insurance clientele of working Chicago musicians. He took a special interest in savings plans and annuities that promised musicians a monthly retirement income. Lipschultz was not the only Chicagoan to take an interest in the welfare and financial security of musicians, however. There was James C. Petrillo, president of Local 10 of the American Federation of Musicians and one of the most commanding and aggressive-some would say reckless-figures in the American labor movement. The fact that the thirties was to be labor's moment at the moral center of American politics gave him even greater power. Anything that concerned musicians concerned Petrillo. In the early thirties, as Lipschultz concentrated on building his insurance business, he began to see an opportunity that offered benefit to both himself and his customers. There was a need, he felt, for a musician's newspaper beyond the house organ of the AFM local. So in the summer of 1934, as the Century of Progress Exposition swung into its second season along Chicago's lakefront, Lipschultz took a small office on the eighth floor of the Woods Theater building on Clark and Dearborn, setting himself up as president of "Albert J. Lipschultz & Associates," publisher. He called his new magazine DownBeat, and it went on sale, all eight pages, in July 1934 for 10 cents an issue. Adolph Bessman, an insurance associate of Lipschultz's, served as business manager. And three associate editors were hired to actually turn out the magazine. Of those three, only Glenn Burrs, a tall, balding ex-saxophone player, would stay with the publication. By the second issue, DownBeat began listing band sidemen in orchestras playing around the Chicago area. Among the hundreds of forgotten names, a few surprises leap out: Gene Krupa and Jess Stacey [sic] were working for scale and still unknown to the world. In September, DownBeat began running a musicians' directory. Among the 75 players listed, all within an easy ride of Chicago, was Woody Herman, then a sideman "at liberty," living on Third Street in Milwaukee. Benny Goodman's name appeared for the first time in DownBeat that issue; just a note that he was playing opposite Jerry Arlen at Rose's Music Hall in New York. Jazz had not yet moved center-stage in American popular music. It was still marginalized and underground, hiding in the rank and file of the various sweet bands that made most of the music to which the country danced. The mainstream media rarely probed jazz. When Fortune magazine ran a major jazz article on Duke Ellington, Benny Goodman, and others in 1933, it was a rarity. Lipschultz held no brief for either form. He admitted to no partisanship, sweet or jazz. He was a salesman who felt arguments were bad for business. DownBeat's raison d'etre was good will, not controversy. In 1934 the magazine ran no record reviews, no editorials, no music analysis, no criticism. So, it must have taken Lipschultz by surprise when in the fall of 1934 he received a phone call from the formidable Petrillo. The union leader took a dim view of competition. He had seen the first issues of DownBeat and presumably had no particular argument with their content, which was thoroughly without provocation. What bothered Petrillo was Lipschultz himself, who seemed to be empire building. But in Chicago there was only one empire that counted, and that was Local 10. "You can sell my musicians insurance or you can sell them a magazine," Petrillo was reported to have said. "But you can't sell them both." Lipschultz understood the situation immediately. He and Bessman withdrew their names from the masthead with the November issue. On November 28th Burrs purchased the magazine for a mere $1,500 and Lipschultz never again played a role. By January 1935, the original associate editors were gone and the first record reviews began appearing, leading with Warren Scholl's enthusiastic praise for Duke Ellington's "latest composition, 'Solitude'," from Brunswick Records. Burrs took the official title of publisher and editor and hired a young free spirit named Carl Lynn Cons as associate editor and business manager, the latter title being something of a fiction. Cons had no head for business details. Nevertheless, the two soon became partners and co-owners. Burrs, a tall, extremely slender man in his late forties, was a back-slapping fellow who had a knack for being everybody's friend. His gregariousness made him a natural salesman, which inthe magazine business means advertising. Cons came from Kansas City, where he had played piano professionally and dreamed of writing the Great American Novel. One associate called him "an editorial Barnum." He demanded bizarre headlines and lots of newspaper showmanship. Cons made the pages interesting, if not always entirely respectable. During 1935 and 1936 DownBeat took a sharp turn from being a parochial little news and gossip sheet to becoming a credible national publication with a solid musician orientation and a particularly keen ear for jazz. Its timing couldn't have been more superb.
Site Traffic
  • 430588 Global Rank
  • 169939
    United States
  • 107 K Estimated Visits
Traffic Sources
  • Direct
    49.22%
  • Search
    45.47%
  • Social
    2.62%
  • Referrals
    1.56%
  • Mail
    1.13%
  • Display
    0.00%
Geography Breakdown
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Alexa Traffic Data
Global Rank 266,612
34,205
United States Rank 82,281
2,112
United States Page Views 97.1%
1.9%
Top Countries
Top Search Keywords
  • Español
Mobile App Data
MixRank is the most comprehensive database of mobile apps, developers, SDKs, technologies, services, and integrations. Learn more.
  • 10 SDKs
  • 0 Total reviews
  • App Url: https://itunes.apple.com/app/maher-publications/id627951373
  • App Support: https://support.pixelmags.com
  • Genre: Music
  • Bundle ID: net.betterpress.musicinc2
  • App Size: 35 M
  • Version: 5
  • Release Date: April 4th, 2013
  • Update Date: April 17th, 2020

Description:

Welcome to Music Inc. magazine, North America's leading business-to-business magazine for musical product retailers. Each issue of Music Inc. reads like a focused to-do list of best practices for retailers aiming to improve. Every issue includes hard-hitting news, Insightful "Ideas" columns from the industry's brightest minds and segment-by-segment previews of new gear and services for entrepreneurs selling musical products — from pianos, keyboards and pro audio to B&O, Guitars and DJ gear.

AVFoundation
The AV Foundation framework provides an Objective-C interface for managing and playing audio-visual media in iOS and OS X applications.
Core Foundation Framework
Core Foundation is a framework that provides fundamental software services useful to application services, application environments, and to applications themselves. Core Foundation also provides abstractions for common data types, facilitates internationalization with Unicode string storage, and offers a suite of utilities such as plug-in support, XML property lists, URL resource access, and preferences.
Core Graphics
The Core Graphics framework is based on the Quartz advanced drawing engine. It provides low-level, lightweight 2D rendering with unmatched output fidelity. You use this framework to handle path-based drawing, transformations, color management, offscreen rendering, patterns, gradients and shadings, image data management, image creation, and image masking, as well as PDF document creation, display, and parsing.
Core Location Framework
The Core Location framework lets you determine the current location or heading associated with a device. The framework uses the available hardware to determine the user’s position and heading. You use the classes and protocols in this framework to configure and schedule the delivery of location and heading events. You can also use it to define geographic regions and monitor when the user crosses the boundaries of those regions. In iOS, you can also define a region around a Bluetooth beacon.
Foundation Framework
The Foundation framework provides a base layer of functionality for apps and frameworks, including data storage and persistence, text processing, date and time calculations, sorting and filtering, and networking. The classes, protocols, and data types defined by Foundation are used throughout the macOS, iOS, watchOS, and tvOS SDKs.
Launch Services
macOS Launch Services is an API that enables a running app to open other apps or their document files, similar to the Finder or the Dock.Launch Services eliminates apps having to query the Finder to open an app, document, or URL for them. The macOS Finder itself uses Launch Services to perform such tasks. Because the Finder performs no additional processing beyond calling Launch Services, any client using Launch Services for these purposes behaves identically to the Finder.
MobileCoreServices
Use uniform type identifier (UTI) information to create and manipulate data that can be exchanged between your app and other apps and services using MobileCoreServices.
Quartz Core Framework
Allow users to browse, edit, and save images, using slideshows and Core Image filters.The Quartz Composer API supports processing and rendering graphical data and allows developers to create custom patches for the Quartz Composer developer tool. ImageKit provides user interface support for browsing, editing, and saving images, showing slideshows, and browsing and previewing Core Image filters. PDFKit is a technology that allows applications to display and manipulate PDF documents.
System Configuration F...
This collection of documents describes the programming interfaces of the System Configuration framework. The System Configuration framework provides functions that determine the reachability of target hosts in both a synchronous and an asynchronous manner. It also provides error detection facilities.
UIKit
The UIKit framework (UIKit.framework) provides the crucial infrastructure needed to construct and manage iOS apps. This framework provides the window and view architecture needed to manage an app’s user interface, the event handling infrastructure needed to respond to user input, and the app model needed to drive the main run loop and interact with the system.
Data sourced from MixRank, the most comprehensive database of mobile apps, developers, SDKs, technologies, services, and integrations. Learn More.
DownBeat Magazine advertising reaches 107k visitors across desktop and mobile web, in countries such as United States, Finland, United Kingdom, Turkey, Italy. Pricing models they offer are CPM on channels such as Display, Mobile, Email, Social Advertising on DownBeat Magazine will allow you to reach consumers in industries or verticals such as .

They are headquartered at Elmhurst, IL, United States, and have 1 advertising & marketing contacts listed on Kochava.

DownBeat Magazine works with Advertising technology companies such as Conversant, Mediaplex, DoubleClick.Net, eXelate, Eyeota, The Trade Desk, AppNexus, Twitter Ads, Google Adsense.