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...fact that air is free and music in the air is fleeting. Composers could almost always collect cash for sheet music and later for recordings, but collecting for public and broadcast performances was more difficult. For the past generation the American Society of Composers, Authors and Publishers (ASCAP) has been handling such collections, the largest share of them in the form of flat annual fees from broadcasting stations, which nowadays amount to as much as $18 million a year. The bite was painful, and in 1939 broadcasters raised the cry of "monopoly" against ASCAP, got together and formed a rival...

Author: /time Magazine | Title: Music: Sour Notes in the Courtroom | 10/1/1956 | See Source »

...networks) owns or subsidizes more than 1,000 music publishers and through them has influence over rising entertainers; 2) broadcasters also have a heavy finger in the record pie through RCA Victor (related to NBC) and Columbia (a CBS subsidiary); 3) wherever possible, the stations plug BMI tunes, ignore ASCAP tunes on the "sinister" premise that (as a BMI pamphlet once put it) "the public selects its favorites from the music which it hears, and does not miss what it does not hear." One method, testified Songwriter Adams, was in the form of memos to radio stations, saying: "This...

Author: /time Magazine | Title: Music: Sour Notes in the Courtroom | 10/1/1956 | See Source »

...Case. BMI President Carl Haverlin offered statistics to show that music by ASCAP composers is far from being pushed off the air, that approximately 85% of performances on TV and 75% on radio today are of compositions licensed by ASCAP. Added Haverlin: 1) BMI's revenues are only about one-third of ASCAP's; 2) the same charges had been made in 1952 to the Department of Justice, which investigated BMI and took no action; 3) ASCAP itself had been found guilty of monopolistic practices by a federal court in 1948, after which it had to change some...

Author: /time Magazine | Title: Music: Sour Notes in the Courtroom | 10/1/1956 | See Source »

...week's end both disputants exited to the same tunes to which they entered, with Showman Billy Rose grinding out a final bump for ASCAP in a parody of Sixteen Tons...

Author: /time Magazine | Title: Music: Sour Notes in the Courtroom | 10/1/1956 | See Source »

...However, Rock Around the Clock, title tune of the film currently causing rock 'n' roll riots in Europe, is an ASCAP tune...

Author: /time Magazine | Title: Music: Sour Notes in the Courtroom | 10/1/1956 | See Source »

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