Music Trade Review
Issue: 1922 Vol. 74 N. 9 - Page 63
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THE MUSIC TRADE
MARCH 4, 1922
REVIEW
53
CONDUCTED BY V. D. WALSH
RADIO BROADCASTING OF SONGS BRINGS NEW PROBLEMS
Question of Protecting the Royalty Rights of Publishers Arises in Connection With the Wireless
Transmission of Songs—Free Services of Artists Looked Upon With Disfavor
The musical activities of the various radio
broadcasting stations have not only been looked
upon with interest by publishers and allied lines,
but the rapid developments, scope and power
of this new device have features which many in
the music publishing field believe will result in
time to their disadvantage.
Up to the present it is conceded that the de-
velopments have been such that they have been
quite a benefit, this owing to the novelty and
the limited number of amateur receiving sta-
tions. While it is said there are over 400,000
wireless enthusiasts within a radius of 3,000
miles of New York and approximately the same
amount per capita in other radio centers, this
is, no doubt, overestimated.
As the publishers see it, there are many good
features attached to the broadcasting of songs
and before any action is taken regarding such
activities, which might be considered premature,
the publishers seem willing to await develop-
ments. They feel that from several directions,
in case the future development of the radio in
its present use becomes disadvantageous to their
interest, they have the power to curtail such
activities, at least, under the present method of
programing and with the song material involved.
Where the wireless program is received in an
opera house, hall, or public auditorium, etc.,
the publishers, particularly of popular music,
see no evil, but much good. It is the amateur
receiving stations and the future development
of such that bring up questions that may develop
into problems.
So far, owing to the fact that the receivers
have no control over a program and must needs
take what is served, the influence of the wireless
as a publisher's evil is not potent. What the
development of wireless and the arrangements
of the programs have in store in the way of
problems remain to be seen.
JENKINS HITS
"DangerousBlues"
The Biggest "Blues" Hit Ever Published
Everyone Is Playing It
"12th Street Rag"
Song—Piano Solo
Now at Its Height
"Kiss Me, Dear"
A Beautiful Waltz—Has the Earmarks
of a Real "Hit"
TWO OTHER GOOD ONES
"Sweet Love"
and
"Colleen o'Mine"
EVERY ONE A SELLER
Published by
J. W. Jenkins' Sons Music Co.
Kansas City, Mo.
The music industries, through the American
Society of Authors, Composers and Publishers,
the Music Publishers' Protective Association,
the producers of musical comedies, the vaude-
ville booking offices and concert managers and
others who control the activities of artists,
have the power to collect royalties, to con-
tribute or not contribute the services of pro-
fessionals and from several other angles to
curtail the programs and interest of the radio
broadcasting stations.
In some instances those controlling artists,
bands, musical shows, etc., have ruled against
the further contribution of such services. These
services up to this time have invariably been
given gratis. The Music Publishers' Protective
Association and the American Society of Au-
thors, Composers and Publishers have also taken
an interest and are making a close analysis of
the situation.
The band and orchestra organizations, the
musical comedies, and others who have shown
co-operation to the radio, have done so for the
purpose of publicity involved and, of course,
do not intend to make regular features of such
offerings. Indeed, the expense attached where
it is carried by either the musical organization
or by the radio broadcasting station over any
period would probably be exorbitant.
That conclusions can hardly be reached at
this time is almost demonstrated daily and the
trend of development of wireless telephony
seemingly takes so many angles that nothing
definite can be said as to the future. It is
thought in some circles that wireless will re-
place theatre orchestras, at least in motion pic-
ture houses, and this is quite possible.
At a wireless concert given by the Kansas
City Star an amplifier was placed on the stage
of the Ashland Theatre, a large suburban house,
and the songs and music came through so
effectively the orchestra was stopped and the
concert heard by an audience of 2,000.
It is said the management is so thoroughly
interested in the experiment it will install a
bigger and stronger receiving set and feature it.
Of course, in this instance, the music was picked
up from various radio broadcasting stations
and no control was had over the program, but
the success of the experiment demonstrates that
where a sufficient number of such theatres were
to link themselves together and arrange a spe-
cific program the ind : vidual orchestras could be
eliminated.
So far musical programs of radio stations
can be described as somewhat too erratic and
the interest that has been shown has not been
due to the appeal of the music itself but rather
to the novelty of the whole radio development.
1 SONGS THAT SELL
S u c c e s s o r to TLCKY HOME
Granny
You're My Mammy's Mammy
Tuck Me to Sleep In My Old
Tucky Home
Just a Lit tic Love Song
Poor Little Me
Lonesome Hours
I Wonder Where He Went
— You Can Have Every Light On Broadway
And When He's Coming Back Blues
(Give Me One Little Light at Home)
B o w W o w Blues
Birds of a Feather
Universal Dance Folio No. 2
Everybody Step
From the Music Box Revue
They Call It Dancing
From the Music Box Revue
The Greatest Song Success
Ever Written
Say It With Music
From the Music Box Revue
IRVING BERLIN, Inc.
1607 Broadway, New York
"RIO NIGHTS"_BEING FEATURED
A. J. Stasny Music Co. Hit the Basis of Excel-
lent Window Displays
The campaign of the A. J. Stasny Music Co.
on the song "Rio Nights" will- he continued
throughout the month of March. Special dis-
plays of the number were shown in St. Paul and
Minneapolis during the past week and the sales
in that territory were increased substantially.
The orchestras in both cities did much to ex-
ploit the number by featuring it in their pro-
grams.
Roy Turk and J. Russell Robinson, of the
E. R BITNER IN BERMUDA
writing staff of Waterson, Berlin & Snyder,
have contributed the book, lyrics and music for
E. F. Bitner, general manager of Leo Feist,
"Night-Time in Dixieland," a revue produced at
Inc.,
is spending two weeks in Bermuda and
the Plantation Room, formerly the Follies
expects
to return to his desk around the tenth
Bergere.
of the month. Mr. Bitner was confined to his
for two weeks prior to his departure,
FISHER THOMPSON SONGS home
suffering
witfc an attack of grippe.
A R E K N O W N T H E W O R L D OVER
PANAMA
TWILIGHT
WON'T YOU?
I'M LONELY,
HAWAII
MAMMY'S LOVING LULLABY
BROWN EYES
YOU, JUST YOU
RIO NIGHTS
KITTY
ORDER THRU YOUR JOBBER
She's ~A Sensation?
OLD EASHIONED
GIRL
THE MUSIC TRADE
MARCH 4, 1922
REVIEW
53
CONDUCTED BY V. D. WALSH
RADIO BROADCASTING OF SONGS BRINGS NEW PROBLEMS
Question of Protecting the Royalty Rights of Publishers Arises in Connection With the Wireless
Transmission of Songs—Free Services of Artists Looked Upon With Disfavor
The musical activities of the various radio
broadcasting stations have not only been looked
upon with interest by publishers and allied lines,
but the rapid developments, scope and power
of this new device have features which many in
the music publishing field believe will result in
time to their disadvantage.
Up to the present it is conceded that the de-
velopments have been such that they have been
quite a benefit, this owing to the novelty and
the limited number of amateur receiving sta-
tions. While it is said there are over 400,000
wireless enthusiasts within a radius of 3,000
miles of New York and approximately the same
amount per capita in other radio centers, this
is, no doubt, overestimated.
As the publishers see it, there are many good
features attached to the broadcasting of songs
and before any action is taken regarding such
activities, which might be considered premature,
the publishers seem willing to await develop-
ments. They feel that from several directions,
in case the future development of the radio in
its present use becomes disadvantageous to their
interest, they have the power to curtail such
activities, at least, under the present method of
programing and with the song material involved.
Where the wireless program is received in an
opera house, hall, or public auditorium, etc.,
the publishers, particularly of popular music,
see no evil, but much good. It is the amateur
receiving stations and the future development
of such that bring up questions that may develop
into problems.
So far, owing to the fact that the receivers
have no control over a program and must needs
take what is served, the influence of the wireless
as a publisher's evil is not potent. What the
development of wireless and the arrangements
of the programs have in store in the way of
problems remain to be seen.
JENKINS HITS
"DangerousBlues"
The Biggest "Blues" Hit Ever Published
Everyone Is Playing It
"12th Street Rag"
Song—Piano Solo
Now at Its Height
"Kiss Me, Dear"
A Beautiful Waltz—Has the Earmarks
of a Real "Hit"
TWO OTHER GOOD ONES
"Sweet Love"
and
"Colleen o'Mine"
EVERY ONE A SELLER
Published by
J. W. Jenkins' Sons Music Co.
Kansas City, Mo.
The music industries, through the American
Society of Authors, Composers and Publishers,
the Music Publishers' Protective Association,
the producers of musical comedies, the vaude-
ville booking offices and concert managers and
others who control the activities of artists,
have the power to collect royalties, to con-
tribute or not contribute the services of pro-
fessionals and from several other angles to
curtail the programs and interest of the radio
broadcasting stations.
In some instances those controlling artists,
bands, musical shows, etc., have ruled against
the further contribution of such services. These
services up to this time have invariably been
given gratis. The Music Publishers' Protective
Association and the American Society of Au-
thors, Composers and Publishers have also taken
an interest and are making a close analysis of
the situation.
The band and orchestra organizations, the
musical comedies, and others who have shown
co-operation to the radio, have done so for the
purpose of publicity involved and, of course,
do not intend to make regular features of such
offerings. Indeed, the expense attached where
it is carried by either the musical organization
or by the radio broadcasting station over any
period would probably be exorbitant.
That conclusions can hardly be reached at
this time is almost demonstrated daily and the
trend of development of wireless telephony
seemingly takes so many angles that nothing
definite can be said as to the future. It is
thought in some circles that wireless will re-
place theatre orchestras, at least in motion pic-
ture houses, and this is quite possible.
At a wireless concert given by the Kansas
City Star an amplifier was placed on the stage
of the Ashland Theatre, a large suburban house,
and the songs and music came through so
effectively the orchestra was stopped and the
concert heard by an audience of 2,000.
It is said the management is so thoroughly
interested in the experiment it will install a
bigger and stronger receiving set and feature it.
Of course, in this instance, the music was picked
up from various radio broadcasting stations
and no control was had over the program, but
the success of the experiment demonstrates that
where a sufficient number of such theatres were
to link themselves together and arrange a spe-
cific program the ind : vidual orchestras could be
eliminated.
So far musical programs of radio stations
can be described as somewhat too erratic and
the interest that has been shown has not been
due to the appeal of the music itself but rather
to the novelty of the whole radio development.
1 SONGS THAT SELL
S u c c e s s o r to TLCKY HOME
Granny
You're My Mammy's Mammy
Tuck Me to Sleep In My Old
Tucky Home
Just a Lit tic Love Song
Poor Little Me
Lonesome Hours
I Wonder Where He Went
— You Can Have Every Light On Broadway
And When He's Coming Back Blues
(Give Me One Little Light at Home)
B o w W o w Blues
Birds of a Feather
Universal Dance Folio No. 2
Everybody Step
From the Music Box Revue
They Call It Dancing
From the Music Box Revue
The Greatest Song Success
Ever Written
Say It With Music
From the Music Box Revue
IRVING BERLIN, Inc.
1607 Broadway, New York
"RIO NIGHTS"_BEING FEATURED
A. J. Stasny Music Co. Hit the Basis of Excel-
lent Window Displays
The campaign of the A. J. Stasny Music Co.
on the song "Rio Nights" will- he continued
throughout the month of March. Special dis-
plays of the number were shown in St. Paul and
Minneapolis during the past week and the sales
in that territory were increased substantially.
The orchestras in both cities did much to ex-
ploit the number by featuring it in their pro-
grams.
Roy Turk and J. Russell Robinson, of the
E. R BITNER IN BERMUDA
writing staff of Waterson, Berlin & Snyder,
have contributed the book, lyrics and music for
E. F. Bitner, general manager of Leo Feist,
"Night-Time in Dixieland," a revue produced at
Inc.,
is spending two weeks in Bermuda and
the Plantation Room, formerly the Follies
expects
to return to his desk around the tenth
Bergere.
of the month. Mr. Bitner was confined to his
for two weeks prior to his departure,
FISHER THOMPSON SONGS home
suffering
witfc an attack of grippe.
A R E K N O W N T H E W O R L D OVER
PANAMA
TWILIGHT
WON'T YOU?
I'M LONELY,
HAWAII
MAMMY'S LOVING LULLABY
BROWN EYES
YOU, JUST YOU
RIO NIGHTS
KITTY
ORDER THRU YOUR JOBBER
She's ~A Sensation?
OLD EASHIONED
GIRL
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