American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business) PDF
Preview American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984 (American Popular Music & Its Business)
American Popular Music and Its Business THE FIRST FOUR HUNDRED YEARS III From 1900 to 1984 RUSSELL SANJEK New York Oxford OXFORD UNIVERSITY PRESS 1988 This page intentionally left blank Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1988 by Elizabeth Sanjek Published by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Sanjek, Russell. American popular music and its business. Bibliography: p. Includes indexes. Contents: v. 1. The beginning to 1790—v. 2. From 1790 to 1909—v. 3. From 1900 to 1986. 1. Popular music—United States—History and criticism. 2. Music-—United States—History and criticism. 3. Music trade—United States—History and criticism. I. Title. ML200.S26 1988 780'.42'0973 87-18605 ISBN 0-19-504311-1 24689753 Printed in the United States of America on acid-free paper This page intentionally left blank Contents Part One 1900-1920 1. Thomas Edison's Wonderful Kinetoscope Machine, 3 2. Big Time, Small Time, and E. F. Albee, 16 3. The Victrola and the Pianola, 22 4. Inside the Popular-Music Business, 32 Part Two 1921-1930 5. Popular Songs and the Movie Business, 47 6. The Decline and Fall of the House of Albee, 57 7. The Mechanical Music Business, 62 8. A Simple Radio Music Box, 74 9. A Glut of Movie Music, 91 Part Three 1931-1940 10. The Fall and Rise of the Record Business, 117 11. Music in Motion Pictures, 147 12. Popular Music and Radio, 159 13. ASCAP versus the Broadcasters, 184 Part Four 1941-1953 14. On the Road to New Technology and an Expanded Industry, 215 15. Mass Entertainment and the Music Business, 251 16. ASCAP and BMI Face the Reality of Television, 291 vi Contents Part Five 1954-1966 17. From Monaural to Stereophonic Sound, 333 18. Growth to a Four-Billion-Dollar Business, 367 19. ASCAP versus BMI, 396 20. Payola Problems and Rate Wars, 439 Part Six 1967-1970 21. Copyright Revision or Not?, 493 22. The Music-Licensing Wars, 498 23. Big Money Invades the Music Business, 507 24. FM and Top 40 Radio, 518 Part Seven 1971-1976 25. Continued Fighting over Licensing, 523 26. Industry Associations Play Their Part, 528 27. "The Seven Dirty Words" Case and MOR Music, 543 28. Configurations, Payola, and Soul Music, 549 29. A New Copyright Bill at Last, 563 Part Eight 1977-1980 30. The U.S. Supreme Court and Licensing, 573 31. The Copyright Royalty Tribunal, 581 32. Other Copyright Problems, 588 33. Seesawing Sales and New Ideas in the Record Business, 594 Part Nine 1981-1984 34. Television Music Licensing, 617 35. Rates and Piracy—Unsolved Problems, 624 36. Continuing Difficulties for Music Publishers, 627 37. Tight Control of a Prosperous Record Business, 634 Bibliography, 655 Index, 695 PART ONE 1900-1920 This page intentionally left blank CHAPTER 1 Thomas Edison's Wonderful Kinetoscope Machine Two years after Koster & Bial's luxurious Concert Hall in New York pre- sented "living pictures" of a half-clad Diana and her court awaiting the dawn in a program the New York Times hailed as "what they now call 'vaudeville' seen at its best", Thomas Edison's new invention, the Vita- scope, projected moving hand-colored pictures of more than life-sized women dancers from the theater's second balcony onto a twenty-foot stereopticon screen. The moving-picture industry came to life on April 23, 1896, follow- ing the end of the nation's most serious economic depression up to that time. During the mid-1880s, feeling that a machine that would do for the eye what his talking machine was doing for the ear was feasible. Edison had put a young laboratory assistant, William K. L. Dickson, to work on the project. The "wizard with a thousand ideas'' had in mind an apparatus that would permit viewing through a magnifying lens of continuous pictures, mounted on a cylinder like the one used in his phonograph. Yet, once his patent application for the Kinetoscope, or "moving views," was filed, in late 1888, Edison abandoned the cylinder design. He had seen the work of George Eastman's new Kodak camera, which had a roll of flexible film of 100 separate pictures, and he called on the inventor for assistance. Eastman obliged with a fifty-foot strip of improved thin blank film, and Dickson went to work on a new tack. In August 1891, Edison's new Apparatus for Exhibiting Photographs of Moving Objects was ready for a patent applica- tion. Dickson pepped up the first demonstration for Edison of his new in- vention by appearing on screen to greet his employer with words simulta- neously reproduced by a phonograph cylinder synchronized with the filmed action. It was the first talking moving picture. Only the magnifying lens remained of Edison's original concept, now mounted in a wooden cabinet 3
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