When was ascap founded

In October , Herbert and eight other people met to discuss such an organization. And on February 13, , they held their first official meeting. Anyone that wanted to use this music had to license the entire catalog, not just a single song.

They threatened to halt music performances, which led some to panic. In the case of Herbert v. Whether it pays or not, the purpose of employing it is profit and that is enough. Interestingly, newspaper-owned radio stations were given generous fee breaks, for obvious PR purposes, according to one author.

Commercial establishments such as restaurants playing the ASCAP tunes on their radios also had to pay licensing fees. Not only had ASCAP brought radio in line, according to the Justice Department, its board of directors had "absolute control of the entire music industry. The department's lengthy investigation culminated in a trial in and the signing of a consent decree in ASCAP also encountered some criticism for its exclusive policies that kept popular and lesser-known jazz and country singers out of the fold, and compensated them less once finally admitted.

In addition, prospective members needed to establish themselves commercially in order to become eligible, creating something of a Catch situation. Since blanket licenses removed any incentive for users to play music from non-members, that group found itself increasingly redundant. In the late s, NAB was still casting about for alternate sources of music.

BMI soon acquired the catalog of one major publisher--E. Besides favoring the interests of broadcasters, BMI also became the champion of newer genres such as rhythm and blues and rock 'n' roll. Its search for new material led it to thousands of songs composed by Argentinean, Mexican, Jewish, Italian, and Native American writers. By the time ASCAP had come to terms with the stations in , it had lost a considerable amount of money during the boycott, and bargaining power as well. The new contract with radio was actually less lucrative than the old one.

ASCAP had overplayed its hand and lost its monopoly. The federal case against ASCAP resulted in the Society signing a consent decree which allowed members to share nonexclusive rights to license their works. ASCAP also agreed to license music on a program-by-program basis. In addition, the self-perpetuating board system was ended, revenues distributed more evenly, and membership criteria relaxed. Music users there in principle then had to license music directly from the individual copyright holders.

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