[Dixielandjazz] RE: ASCAP
Mike Durham
mikedurham_jazz at hotmail.com
Fri Feb 13 23:22:55 PST 2004
Will Connelly wrote:
>I have not been an ASCAP member long enough to know whether there was ever
>racial discrimination in membership, and given the overwhelming dominance
>of
>Jews in it, I'm inclined to doubt it. I do know that there was never a
>class
>distinction in membership. You either qualify for membership or you don't.
>There
>was a time when you could sign up as an "associate" but that didn''t get
>you
>royalties. >Instead of fairy tales and supposition, girls, why not try
>looking at WWW.
>ASCAP.COM which tells all about copyrights, licensing, how ASCAP works,
>etc. BMI
>probably has a website, too. And you'll probably be able to contact Marilyn
>Bergman, a prominent songwriter and ASCAP president, who will provide you
>with
>facts.
Will, let me refer you to the book "Jelly's Blues" by Howard Reich and Louis
Gaines (Da Capo Press 2003), pages 213-214. ASCAP rejected Morton in 1928
and again in 1934, despite his fame and many published compositions,
including the huge-selling King Porter Stomp, finally admitting him in late
1939. I quote "He had been placed in the lowest category ASCAP had (#3),
paying $120 per annum compared to around $16,000 for such composers as
Irving Berlin and Richard Rogers, who were placed in the top rank". Again
quoting, "Meanwhile, the noise Morton had made at ASCAP headquarters during
his meeting there on June 17 (1941) had persuaded the organisation to
promote him to a higher category - from "3" to "2". This meant that instead
of getting $120 he would get $185, the highest amount ASCAP ever paid to him
in his lifetime. Morton knew full well that the category "2" designation was
not the second highest ranking, as one might assume. Several categories -
such as A, AA and AAA - outranked the numerical ratings"
Will, far be it from me to dish supposition and fairytales, but Reich and
Gaines have a couple of Pulitzer prizes between them, so who's wrong here?
Not suggesting for one moment that today's ASCAP is anything but fair and
above reproach in its dealings, but back in the 20's and 30's........?
Mike.
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