The Phoenix index., 1941-01-25

cepted for publication when there
were one hundred possible outlets
for his composition. Few people
realize just how much of a mono-
poly Radio is.
Three man1mouth chains con-
troll stations, artists, programs, mu-
sicians, Columbia Records
being an affiliate of CBS's and Vic
tor of NBC--l1any newspapers anG
concert bureaus. If the Broadcasting
Barons win the present controversy.
they will have added the conn
posers and publishers to this i'm
posing list.
AIR BARS NEGOOES
Even with the three chains ccm-
peting one against the other, the
Negro performer has not found
adequate employment on the air.
In 1889, when Radio did $170,000,-
900 worth of business and paid less
than four millions to ASCAP, the
Negro composer doubtless received
q larger percentage Of the latter
sum than the Negro artist did Of
the ITO millions. Negro technicians
and announcers have been notice
ably absent in the broadcaSting
business. It would, moreover, te in
teresting to determine to what ex-
tent the networks are responsible
for the current demise of the Negro
orchestra With few exceptions, the
Negro has been Radios stepchild.
a relationship which hardly augures
well for the colored composer un.
der a BN1I regime
The ASCAP, on the other hand
has been a more democratic or
ganiZation. The late James Weldon
Johnson was among its charter
members. Negroes have been well
come guests at it's annual dinners:
Composers like WIG. Handy have
been elevated to its Glass "a" and
allotted top royalties. Naturally,
some members have been dissatis-
fled with the amount paid them,
but rarely have they attributed this
to racial discrimination. In adver-
sity, black and white members alike
have shared the benefits Of the
Society's relief fund.
DEMOCRACY PERFECT
BY the same token, requirements
for election 10 membership have
been no more stringent for appli-
cants of one race than of another.
AS no democracy is perfect, there
have obviously been some Shortcorn-
ings in ASCAP's operations; how
ever, the fair-ininded attitude Of
President Gene Buck seemed to in
dicate that in time any and all in
justices would have been eradicated.
Not only in racial implications but
also in the more general aspects
of the present controversy. the
ASCAP seems to deserve public
sympathy. In the pre-radio days,
popular songs sometimes sold one
million copies OF more. Constant re-
petition of current tunes Oh the air
has reduced this sale by more than
nine-tenths. 1t is only fair therefore
that the Radio should compensate
for this deficit for which it alone
has been responsible. On many pro-
grams, music is really Radios staff
of life, but the broadcasters have
never been willing to make ade-
quate payment for this indispen-
sable product. Each Saturday night
Hit Parade. for example, netted
$4,000 for the artists, $11,500 for the
Radio but only $218.50 for the men
who wrote the music which made
the program possible.
CHAINS NEVER PAID
More over, ASCAP's income was
never derived from the chains but
from the individual stations. Be
cause of the monopolisuc nature OF
present day Radio it was deemed
more equitable for the chains them
selves to pay; the three to seven
per cent which .ASCAP requested
could hardly be considered eXhor-
bitant. The Radio refused, however,
and the present boycott of Aneri-
can music has resulted. 1t should
also be noted that the Broadcasters
have refused the Society's sugges-
ton that the dispute might be
arbitrated.
IN conclusion, common justice, as
we'll as the Negro composers best
interests tilt the scales heavily in
favor of the ASCAP. Music, to
which the American Negro has
made such significant contributions
in the past, has always been a dill
ficult field in which to gain recog-
milton. If the ASCAP should lose
this fight, the Negro composer
would find himself even more Sc
riously disadvantaged LII the future
A postcard to your local radio sta
ton protesting against the ban on
your favorite music might help the
Neero composer OF yesterday, toeay