Download American Popular Music and Its Business: The First Four by Russell Sanjeck PDF

By Russell Sanjeck

This quantity specializes in advancements within the song company within the 20th century, together with vaudeville, track containers, the connection of Hollywood to the song company, the "fall and upward push" of the list company within the Thirties, new expertise (TV, FM, and the LP list) after international battle II, the dominance of rock-and-roll and the large raise within the tune company throughout the Fifties and Sixties, and at last the altering song enterprise scene from 1967 to the current, in particular concerning govt laws, track licensing, and the list enterprise.

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Extra info for American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business)

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And then moved to New York around 1906 to become director of several all-black stage productions. He then dedicated himself to the task of presenting Afro-American musicians as capable of playing for any audience and as creators of a vital music that blended their own past with that of white Americans. After he was elected head of the Clef Club, formed by the city's best-known black musicians and singers, Europe produced a number of ambitious concerts of Negro music, which culminated on Carnegie Hall's stage in May 1912.

The two-cent royalty mandated in the 1909 Copyright Act was regularly paid, but publishers held that the use of lyrics was not mechanical reproduction, only duplication of protected material not covered by federal law and therefore not subject to the two-cent royalty require- 1900^1920 29 ment. That position was twice upheld by the Supreme Court, and royalties from word-rolls soon rose to twelve and sixteen cents. The six leading popular-music houses—Irving Berlin; Leo Feist; T. B. Harms with Francis, Day & Hunter; Shapiro, Bernstein; Waterson, Berlin & Snyder; M.

Bearing a proposal from Murdock, Casey in December 1917 offered ASCAP his services to ensure regular collections from music users and to obtain licenses from the pic-vaud houses and all non-VMPA-affiliated theaters. In return, the VMPA members would be free to use AS CAP music without payment, and 50 percent of all gross receipts collected by Casey in the first two years would be passed on to Murdock, one third in the following three. " During the 1924 hearings, Murdock and Casey each filed an affidavit denying any arrangement to favor VMPA houses.

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