Music Trade Review
Issue: 1921 Vol. 73 N. 3 - Page 40
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
40
THE
MUSIC TRADE
REVIEW
JULY 16,
1921
EUROPES BIGGEST DANCE HIT
MY MAN
AMERICAS BIGGEST DANCE HIT
Sund b H HISS FANNY BRICE in
ZIEGFELD
FOLLIESyi-9-2'1
'ASK TO r & IT
Atune'You Can't Fbrget
«
^
PRICE REDUCTIONS NOT PRACTICAL AT PRESENT TIME
General Reduction of Wholesale and Retail Prices on Popular Numbers Is Not Possible Until
Manufacturing Costs Are Lowered and Royalties Are Based on Much Lower Scale
The thought that is now being given by the
general trade, and particularly by the music
publishers, to the advisability as well as the fea-
sibility of reducing the price of popular music
has brought forth some problems which tend
to show that it would be almost impossible, at
the 1 present time and under present contracts
and arrangements, for the publishers to reduce
the wholesale and retail price of all popular
numbers.
There are, no doubt, individual houses who
could accomplish something along this line, and
there are also numbers in various catalogs that
could readily be reduced, but to make a gen-
eral reduction of all popular works at this time
is almost beyond question. At least no such thing
can occur unless all contracts, royalties, etc.,
are changed to meet such a situation.
Practically everyone in the music business is
familiar enough with printing to know that there
has been no reduction in paper costs, printing
ink, etc., that would warrant lowering the prices
on published material.
Another factor that is involved in the prob-
lem of reducing prices is the present royalty ar-
rangement on 30-cent numbers existing with
most of the songwriters.
Like everybody else, the songwriters, witli
the practical abolition of 10-cent music, man-
aged to increase their royalty contracts, and
only recently the songwriters formed an as-
sociation known as the Lyric Writers' and Com-
posers' Protective League, not only for the pur-
pose of continuing their present arrangements,
but for the further object of adding to their
royalties. Their present activities involve a
series of propositions that are now being given
consideration by the publishers and, while the
publishers are hardly in a position to grant all
that the songwriters ask, there has not as yet
been any decision in that regard and, until such
is arrived at, the publishers are in no position
to make a radical change. One publisher, in
commenting on the situation, said:
"The Lyric Writers' and Composers' Protec-
tive League has chosen a poor time to ask for
REMICK NUMBER WELL FEATURED BY KRESGE IN BOSTON
The Boston store of the S. S. Kresge Co. re-
cently had a most attractive window display of
the Jerome H. Remick & Co. song, "Just Keep
a Thought for Me." This window attracted
unusual attention and as special demonstrations
song was given much prominence. In the cen-
ter is shown a greatly enlarged title page, adja-
cent to which is a large-sized kewpie carrying
the placard, "Just Keep a Thought for Me."
This new Hoston store of the S. S. Kresge
Window Display of "Just Keep a Thought for Me" at S. S. Kresge Store
of the number were given at the music •oriiter chain has, since its opening, paid particular at-
the total sales of the song for the week were tention to its music department. It is under
able management and makes a point of giving
increased substantially.
It can be seen in the reproduction of the music publishers the best co-operation in
window, herewith shown, that the title of the exploiting new numbers.
any further increase in royalties, particularly
inasmuch as the music publishing business is in
a none too healthy state. It only tends to add
to the burdens and problems of the publishers
and in the long run cannot help sales, and in
reality adds to the obstacles now holding back
the resumption of normal service."
The successful songwriter to-day is added to
the writing staff of any organization after much
competition. He always receives numerous of-
fers from publishers before closing a contract
for any period. This tends to give him a
good royalty, as well as contract for the wide
exploitation of his works. The successful song-
writer is recognized and hardly needs any pro-
tection.
The object of the present league is to take
into the fold (and this has been done to a great
extent) not only the successful songwriters,
but those of mediocre caliber as well, and the
purpose of this is, 50 it is said, to raise the
standard of royalties, etc., and place all song-
writers on the same plane; in other words, to
bring about the adaptation of a standard form
of contract.
However, it will hardly work out in this
manner. What it really will do is to make it
possible for the prominent writers to keep in
subjection the lesser lights. For instance, if
there are two manuscripts to be considered by
a publishing house, one from a songwriter with
a following and another one from a writer who
is hardly known, and each of the works has
some merit, there is very little doubt that
the publisher, knowing that the work must be
accepted under a standard contract, will select
for publication the work of the best-known
writer. The lesser light, therefore, has nothing
to gain under a standard form of contract. He
would, of course, if there was a dearth of song
composition, but there is really a greater quan-
tity being produced than the market justifies,
so, after all, he will be the final loser.
These, and other problems, have aill been
added in recent months and have placed the
publisher in a quandary as to how to proceed.
The upshot of the whole proposition may
finally necessitate the publishers cutting down
expenses, discontinuing branch offices and let-
ting numbers succeed on their merit, along with
the aid of publicity channels that do not involve
large expense.
Popular music publishers have gone through
a period of what is described as the biggest
slump in the business. In addition to that, prac-
tically three of the jobbing houses have gotten
into straits that cost the publishers heavily.
The player roll field has likewise suffered a
slump in recent months and this has reduced
royalties on word and instrumental rolls. Ap-
parently talking machine record royalties are not
as high as they were some months ago and
all of this has reduced the publishers' revenue.
While the sales outlook appears healthy, and
there are indications of increased business in
that direction, the other factors with which the
publisher has to contend give him anything
but an optimistic feeling regarding the future.
40
THE
MUSIC TRADE
REVIEW
JULY 16,
1921
EUROPES BIGGEST DANCE HIT
MY MAN
AMERICAS BIGGEST DANCE HIT
Sund b H HISS FANNY BRICE in
ZIEGFELD
FOLLIESyi-9-2'1
'ASK TO r & IT
Atune'You Can't Fbrget
«
^
PRICE REDUCTIONS NOT PRACTICAL AT PRESENT TIME
General Reduction of Wholesale and Retail Prices on Popular Numbers Is Not Possible Until
Manufacturing Costs Are Lowered and Royalties Are Based on Much Lower Scale
The thought that is now being given by the
general trade, and particularly by the music
publishers, to the advisability as well as the fea-
sibility of reducing the price of popular music
has brought forth some problems which tend
to show that it would be almost impossible, at
the 1 present time and under present contracts
and arrangements, for the publishers to reduce
the wholesale and retail price of all popular
numbers.
There are, no doubt, individual houses who
could accomplish something along this line, and
there are also numbers in various catalogs that
could readily be reduced, but to make a gen-
eral reduction of all popular works at this time
is almost beyond question. At least no such thing
can occur unless all contracts, royalties, etc.,
are changed to meet such a situation.
Practically everyone in the music business is
familiar enough with printing to know that there
has been no reduction in paper costs, printing
ink, etc., that would warrant lowering the prices
on published material.
Another factor that is involved in the prob-
lem of reducing prices is the present royalty ar-
rangement on 30-cent numbers existing with
most of the songwriters.
Like everybody else, the songwriters, witli
the practical abolition of 10-cent music, man-
aged to increase their royalty contracts, and
only recently the songwriters formed an as-
sociation known as the Lyric Writers' and Com-
posers' Protective League, not only for the pur-
pose of continuing their present arrangements,
but for the further object of adding to their
royalties. Their present activities involve a
series of propositions that are now being given
consideration by the publishers and, while the
publishers are hardly in a position to grant all
that the songwriters ask, there has not as yet
been any decision in that regard and, until such
is arrived at, the publishers are in no position
to make a radical change. One publisher, in
commenting on the situation, said:
"The Lyric Writers' and Composers' Protec-
tive League has chosen a poor time to ask for
REMICK NUMBER WELL FEATURED BY KRESGE IN BOSTON
The Boston store of the S. S. Kresge Co. re-
cently had a most attractive window display of
the Jerome H. Remick & Co. song, "Just Keep
a Thought for Me." This window attracted
unusual attention and as special demonstrations
song was given much prominence. In the cen-
ter is shown a greatly enlarged title page, adja-
cent to which is a large-sized kewpie carrying
the placard, "Just Keep a Thought for Me."
This new Hoston store of the S. S. Kresge
Window Display of "Just Keep a Thought for Me" at S. S. Kresge Store
of the number were given at the music •oriiter chain has, since its opening, paid particular at-
the total sales of the song for the week were tention to its music department. It is under
able management and makes a point of giving
increased substantially.
It can be seen in the reproduction of the music publishers the best co-operation in
window, herewith shown, that the title of the exploiting new numbers.
any further increase in royalties, particularly
inasmuch as the music publishing business is in
a none too healthy state. It only tends to add
to the burdens and problems of the publishers
and in the long run cannot help sales, and in
reality adds to the obstacles now holding back
the resumption of normal service."
The successful songwriter to-day is added to
the writing staff of any organization after much
competition. He always receives numerous of-
fers from publishers before closing a contract
for any period. This tends to give him a
good royalty, as well as contract for the wide
exploitation of his works. The successful song-
writer is recognized and hardly needs any pro-
tection.
The object of the present league is to take
into the fold (and this has been done to a great
extent) not only the successful songwriters,
but those of mediocre caliber as well, and the
purpose of this is, 50 it is said, to raise the
standard of royalties, etc., and place all song-
writers on the same plane; in other words, to
bring about the adaptation of a standard form
of contract.
However, it will hardly work out in this
manner. What it really will do is to make it
possible for the prominent writers to keep in
subjection the lesser lights. For instance, if
there are two manuscripts to be considered by
a publishing house, one from a songwriter with
a following and another one from a writer who
is hardly known, and each of the works has
some merit, there is very little doubt that
the publisher, knowing that the work must be
accepted under a standard contract, will select
for publication the work of the best-known
writer. The lesser light, therefore, has nothing
to gain under a standard form of contract. He
would, of course, if there was a dearth of song
composition, but there is really a greater quan-
tity being produced than the market justifies,
so, after all, he will be the final loser.
These, and other problems, have aill been
added in recent months and have placed the
publisher in a quandary as to how to proceed.
The upshot of the whole proposition may
finally necessitate the publishers cutting down
expenses, discontinuing branch offices and let-
ting numbers succeed on their merit, along with
the aid of publicity channels that do not involve
large expense.
Popular music publishers have gone through
a period of what is described as the biggest
slump in the business. In addition to that, prac-
tically three of the jobbing houses have gotten
into straits that cost the publishers heavily.
The player roll field has likewise suffered a
slump in recent months and this has reduced
royalties on word and instrumental rolls. Ap-
parently talking machine record royalties are not
as high as they were some months ago and
all of this has reduced the publishers' revenue.
While the sales outlook appears healthy, and
there are indications of increased business in
that direction, the other factors with which the
publisher has to contend give him anything
but an optimistic feeling regarding the future.
Future scanning projects are planned by the International Arcade Museum Library (IAML).