Word: ascap
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Dates: during 1930-1939
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...American Society of Composers, Authors and Publishers (ASCAP) is a sort of communistic holding corporation which collects royalties for the classicists & tinkers of Tin Pan Alley and divides the proceeds among them according to their deserts and needs. Ten years ago the National Association of Broadcasters had a chance to buy ASCAP, lock, stock & Alley, for $20,000,000. NAB thought the price too stiff. But since then radio has paid ASCAP some $30,000,000 in license fees (a flat 5% of net receipts on all programs) and sustaining fees, arbitrarily set and ranging from...
...radio industry's present five-year contract with ASCAP expires in December 1940, but for the last three years broadcasters have been girding for a great fight to break ASCAP's hold on U, S. music. Last week in Chicago, NAB got in a showy bit of brandishing, by voting to organize something to be called Broadcast Music, Inc. Subject to SEC requirements, stock will be sold to broadcasters up to one-half their 1937 payments to ASCAP. In 1937 ASCAP collected $3,878,000 from radio; last year, $3,845,000. Announced purpose of Broadcast Music...
...gross, which means about $750 a week apiece if a show is a hit. Their biggest money-maker was The Girl Friend which played all over the world. In Hollywood they got $50,000 to $60,000 a movie. And from the American Society of Composers, Authors and Publishers (ASCAP), which collects the royalties for public performances of copyrighted music, and grades royalties on a basis of the composers' musical importance -Rodgers & Hart, like Jerome Kern, Cole Porter, Irving Berlin, are graded AA or tops-they each get about $18,000 a year. In a good year, their total...
Cammann Newberry and Arnett MacKennan, Gordon and Revel of Harvard's song-writing world, are quite pleased at being asked to join the famous ASCAP. As full fledged professionals (Mills Music, Inc. bought five of their Hasty Pudding songs) they can now join the society headed by such shining lights as Jerome Kern, Berlin, Gershwin, Walter Donaldson and others. Quite an honor, too, as well as being profitable. If the boys keep at it and keep turning out hits the way they've been doing they'll be drawing down big money soon. . . . Paging Brooks Bowman...
Radio's complaint is that ASCAP charges too much for its music (5% of a broadcaster's net receipts). Warner Brothers says that it asks too little. ASCAP's President Gene Buck stated last week that all the important songwriters were bound personally to the Society by new five-year contracts, that Warner Brothers' experiment would depend on finding new talent. But ASCAP was obviously perturbed. Its strength has been its ability to dictate terms without thought of rivalry. An ASCAP rival is what Radio has long been wanting...