Acetate - ASCAP ON PARADE Air Date January 25, 1941 Station WMCA NYC

$

30

Acetate - ASCAP ON PARADE

Air Date January 25, 1941

Station WMCA NYC

3 – 12 inch acetates (six sides)

Universal Recording Co.

side 1

The March Of The Toys – Deems Taylor

side 2

Herbert Medley Cont.. Story Of ASCAP

side 3

Richard Rogers Medley

side 4

Gene Buck Songs, Benny Fields

side 5

Gershwin “Rhapsody in Blue”

side 6

Theme Songs / Gene Buck Songs

NOTE: the grooves look micro so the speed is 33rpm until I can play it

and update the listing, stay tuned!

Disc Conditions: side one and five has a dent the upside of the dent favors side 5, when I play it

I will check for tracking issues? Side two has a small ding mid-disc, again I will test play this before

the auction ends and update. For now I give a VG/VG+ rating the grooves and surfaces look clean.

I have no idea until I play these discs what they are?

Recorded on Universal Recording Full Range R.K.O. Building Radio City New York.

June, 24 2020 Ztnim Evets Collection 

PLEASE READ: 2020 updates:

I COMBINE SHIPPING! Place Items in a shopping cart and request total from seller!

I will send the you the combined invoice with the correct shipping fees for all Domestic and International orders (buyers)

Payment within 7 days or less please!

FRAGILE ITEM NOTICE: 
These phonograph records are NOT 33rpm LP’s or 45rpm Vinyl records! The high shipping fee is due to the over 

packaging of 78rpm records which are extremely fragile when pressed in shellac. 

Packaging standards as follows:

SHIPPED IN A BRAND NEW 12x12x6 inch -or- 14x14x7 inch BOX (200 pound bursting rate when ever possible.)

WITH ALL NEW SUPPORT MATERIALS WHICH INCLUDE:

PACKING CORN AROUND DISC PACK, 

CARDBOARD SUPPORT AROUND EACH SIDE OF DISC INSIDE,

A PLASTIC BAG FOR WEATHER PROOFING!

RUBBER BANDS USED AROUND CARDBOARD SQUARE SUPPORTS AND DISC PACKS.

THIS TYPE OF PACKAGING FOR 78RPM SHELLAC RECORDS IS A MUST! 

78RPM BUYERS DEMAND THIS PACKAGING & SHIPPING AS STANDARD FOR 78RPM RECORDS!

Shipping Rates: 

SHIPPED MEDIA MAIL STARTS AT $6.10 USA! shipping rates increased in 2020

All Packages are insured for amounts over $40.00 (I pay the fee) 

OVERSEAS RATES START AT $24.80 FOR ONE 10-INCH 78rpm DISC. 

RATES INCREASE AS EACH ADDITIONAL DISC IS ADDED.

OVERSEAS RATES START AT $40.00 FOR ONE 12-INCH 78rpm DISC. 

RATES INCREASE AS EACH ADDITIONAL DISC IS ADDED. 

SOLD AS IS - RETURNS FOR GROSS OVERSIGHTS ONLY! 

Contact Me If You Are Not Happy! I always make good!  I strive to deliver 5-star customer service! 

I also try to ship same day or next day if possible! I combine shipping - Just place items in a shopping cart and

request total from seller.  Payment within 7 days or less please!

Standard record grading:    P  poor    G good    VG very good    E  excellent    NM  near mint   M  mint   

With a plus or minus depending on variables such as how much groove luster remains, sound quality, wear and

abuse. 78rpm records can look bad but sound great! They stand up to abuse much better than LP's or 45's! 

Thanks for looking in - reasonable offers excepted on all buy it now listings. 

Debbie Martinez (2020)

UPDATE:

Played acetate

Produced by Billy Rose

Billy Rose, original name William Samuel Rosenberg, (born Sept. 6, 1899, Bronx, N.Y., U.S.—died Feb. 10, 1966, Montego Bay, Jam.), American theatrical impresario and composer of more than 50 song hits.

featuring speakers including both George M. Cohan and Irving Berlin 

This is a rare recording / Broadcast.

The side with the dent plays with a little more needle pressure.

This is the introduction to the program and it is very fascinating

program, about ASCAP the dispute with broadcasters who

at that time refused to play any music written by ASCAP

members. On the flip side of the area with the dent, is the

orchestra playing Rhapsody in Blue, this is in inverted dent.

The most valuable part of the disc (side one) will track but

it will need some help. YES this was recorded at 78rpm start

outside in. Excellent sound quality! Here's what I found about

the dispute:

One of the strangest episodes in American radio took place in 1941, when the major players of the radio industry joined together and boycotted all music licensed by the American Society of Composers, Authors and Publishers. The increase in popularity of Western bands in the 1940s can, in part, be credited to the 1941 boycott. This WCMB photo is from the collection of John Schneider. ASCAP was created in 1914 by songwriters led by Victor Herbert. It took on the task of enforcing the 1897 copyright law, which required that anyone performing music for profit must have the consent of the copyright owners. This was relatively easy in the days when all music performance took place in theaters and other public venues; ASCAP simply collected royalties from theater owners based on a percentage of their box office sales. But the new radio industry created a problem for them — there was no way to know the number of listeners. This spawned two decades of haggling. Early broadcasters, led by Zenith president and pioneer Chicago broadcaster Eugene F. MacDonald, formed the National Association of Broadcasters in 1925 specifically to deal with the music licensing problem. In 1932, ASCAP set a blanket annual fee of 5 percent of a station’s advertising revenue. While burdensome on the radio industry, which continually fought for better terms, this became the recognized formula throughout the 1930s. Everything fell apart in 1940, when ASCAP announced it would triple its music fees for radio. Broadcasters vehemently opposed this, arguing that the exposure the music industry received via the radio helped popularize new music and boosted sales, but ASCAP refused to back down. An impasse had been reached, and drastic action was needed. In September of that year, industry leaders met at the NAB convention in San Francisco and decided on a drastic move to demonstrate the influence of radio on popular music — beginning Jan. 1, 1941, most radio stations and all the networks would boycott ASCAP music. That meant that, virtually overnight, more than 1 million ASCAP tunes disappeared from America’s airwaves.