By Russell Sanjeck
This quantity specializes in advancements within the song enterprise within the 20th century, together with vaudeville, track bins, the connection of Hollywood to the tune company, the "fall and upward push" of the list enterprise within the Nineteen Thirties, new know-how (TV, FM, and the LP list) after global battle II, the dominance of rock-and-roll and the massive elevate within the tune enterprise throughout the Nineteen Fifties and Sixties, and eventually the altering song company scene from 1967 to the current, in particular concerning govt rules, tune licensing, and the checklist enterprise.
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Additional info for American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business)
Whether it pays or not, the purpose of employing it is for profit, and that is enough. The following several years were clouded by self-serving accounts of progress, but an interesting story can be pieced together from several sources: Variety from 1915 to 1929; Raymond Hubbell's typescript memoirs, "From Nothing to Five Million a Year: The Story of ASCAP by a Founder"; letters written by Isidore Witmark while assistant treasurer of ASCAP to his Chicago branch manager, entered into the public record during hearings before the Senate Committee on Patents, April 9, 1924; and a statement by Edwin Claude Mills, taken September 21, 1956, and part of the record in Schwartz v.
George M. Cohan's artfully simple "Over There," with its syncopated paraphrase of five notes from "Johnny Get Your Gun," sold two million copies in sheet music and one million records. Written the morning the United States declared war, it was purchased from a Cohan-backed music company for $25,000 by Leo Feist, last of the major publishers to join in the pay-for-play practice. A dedicated exponent of modern business methods, Feist had left a prospering career in the corset trade when his part-time publishing venture began to produce profits.
In reversing an adverse lower court finding, the Supreme Court ruled for Victor Herbert and the other plaintiffs, Justice Oliver Wendell Holmes writing in the majority opinion: If the rights under the copyright law are infringed only by a performance where money is taken at the door, they are very improperly protected. Performances not different in kind from those of the defendants could be given that might compete with and even destroy the success of the monopoly that the law intends the plaintiffs to have.
American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business) by Russell Sanjeck