{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/pg1hh6fd6z/manifest","type":"Manifest","label":{"en":["Screams on Vinyl: Horror Themed Novelty Records and American Popular Culture, 1950–1964"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Kendra Switzer (Presenter)","Marci Cohen (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2026-05-15 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFrom the early 1950s through the end of the 1960s, the American music industry produced a significant number of horror-themed novelty records, including comedic “monster music” hits, full horror themed albums, and groups with horror themed titles. The popularity of these records came in two phases. The first began with “The Thing” in 1950, while the second when “Monster Mash” was released in 1962. This paper explores why this subgenre flourished during this moment in history. Its popularity reflected the major popular musical trends of the two decades, the renewed interest in Universal horror films of the 1930s and 1940s, the historical advancements made in science, and more. In the years following the disheartening effects of World War II, the invention of the atomic bomb, and the emergence of the burgeoning youth-centered popular culture, and horror themed records pulled together all these elements into one media format. They also provided a humorous way of addressing these topics, whether they were inspired by fictional stories or real events. The paper also explores the role independent labels play in their creation, as well as the adaptation towards more portable, affordable pieces of audio equipment. Primary and secondary sources, interviews, and analysis of key recordings reveal how record labels took advantage of the growing popularity of Halloween, the potential of teen consumers, and the influence of film, television, and comic book monsters and contemporary anxieties about the future.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}}],"summary":{"en":["\u003cp\u003eFrom the early 1950s through the end of the 1960s, the American music industry produced a significant number of horror-themed novelty records, including comedic \u0026ldquo;monster music\u0026rdquo; hits, full horror themed albums, and groups with horror themed titles. The popularity of these records came in two phases. The first began with \u0026ldquo;The Thing\u0026rdquo; in 1950, while the second when \u0026ldquo;Monster Mash\u0026rdquo; was released in 1962. This paper explores why this subgenre flourished during this moment in history. Its popularity reflected the major popular musical trends of the two decades, the renewed interest in Universal horror films of the 1930s and 1940s, the historical advancements made in science, and more. In the years following the disheartening effects of World War II, the invention of the atomic bomb, and the emergence of the burgeoning youth-centered popular culture, and horror themed records pulled together all these elements into one media format. They also provided a humorous way of addressing these topics, whether they were inspired by fictional stories or real events. The paper also explores the role independent labels play in their creation, as well as the adaptation towards more portable, affordable pieces of audio equipment. Primary and secondary sources, interviews, and analysis of key recordings reveal how record labels took advantage of the growing popularity of Halloween, the potential of teen consumers, and the influence of film, television, and comic book monsters and contemporary anxieties about the future.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/312/701/small/ARSC_conf_2026_Switzer_thmb.jpg?1782143280","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3706/collection_resources/173026/file/312701","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2026_Switzer_video_1.mp4"]},"duration":1212.77823,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/312/701/small/ARSC_conf_2026_Switzer_thmb.jpg?1782143280","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3706/collection_resources/173026/file/312701/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/3706/collection_resources/173026/file/312701/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/312/701/original/ARSC_conf_2026_Switzer_video_1.mp4?1782143222","type":"Video","format":"video/mp4","duration":1212.77823,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/3706/collection_resources/173026/file/312701","metadata":[]}]}],"annotations":[]}]}