If this strike were the only factor at play in 1943, it would be hard enough to make a full-length music mix, but of course there are further complications. The dam had to burst eventually, though, and one by one the record companies agreed terms with the AMA, and recordings gradually began again. Old records were re-released - for example Sinatra's pre-fame records with the Harry James Orchestra. Singers (who were generally not members of the AFM) were paired with vocal groups or non-union pianists - this is why 1943 is the first big year for Frank Sinatra. Then, as these started to run out, different plans were put into action. The strike had been long-anticipated, and a stockpile of records had been built up, so at first there was no noticeable difference - all the best-known artists were still available in stores. No music was to be recorded until the record companies would agree terms to pay performance royalties.
#Aquarella logo professional
On August 1st 1942 the AFM, then representing the majority of professional musicians, announced a strike.
And still performers received no royalties. Radio stations, cutting back due to increased costs, started playing more records.
Record companies started increasing production. Why not put together a 20-piece jazz orchestra for your radio show? The musicians would be glad to have a steady job, and the audience, who could not afford new records, would be glad to hear them.īut then, of course, things changed again. For band leaders, musicians were now plentiful and affordable. For some non-songwriters this may have even represented a pay rise - a gig every night meant a reliable paycheck. When the great depression hit, most of the record companies collapsed and, for those musicians who did not find other employment, live performances and radio became their sole source of income. For performers, however, there was only a fee for playing on the session, so even as the recording industry expanded exponentially with the birth of electrical recordings and much cheaper equipment to play them on, a working musician would see no direct financial benefit to a song they had performed on becoming a hit. First there was the invention of mechanical royalties, initially for piano rolls, but later for recordings - these were an improvement for songwriters, who from 1907 received a fee of 2 cents every time their composition was duplicated - a rate which would remain the same until 1978. We have heard some of the changes that took place over the next 45 years, of course. Musicians were paid for performances, songwriters were paid for (easily pirated) sheet music, and the entire concept of "royalties" for recorded music was un-thought-of, or at least unmentioned. When The American Federation of Musicians was founded in 1896, the wax cylinder was a novelty item owned by a tiny minority of rich households, radio was still a potential technology for (morse code) communication between neighboring buildings, and sound film was little more than a dream.
#Aquarella logo mp3 download
MP3 download | Patreon | Apple | Mixcloud | Spotify | Castbox | Stitcher This show would not be possible without my supporters on there, so please consider signing up or sharing this with someone who may be interested.
#Aquarella logo full
For the full 4.5-hour version please come to /centuriesofsound for downloads and a host of other bonus materials for just $5 per month. The download here is only for the first half-hour of the mix. At Centuries of Sound I am making mixes for every year of recorded sound.
0 kommentar(er)
