398:(1943–44), that catered to musicians who were not under contract. Sometimes musicians under contract restrictions recorded for them under pseudonyms. That business model worked in large urban markets such as New York, Chicago, and Los Angeles, where concentrated markets allowed a sufficient return from local distribution. Many of the historically important recordings of jazz and R&B from the mid-1940s originated from these small labels, including an early 1944 recording of "
168:, was still largely unknown. The original release carried the usual credit, "Vocal Chorus by Frank Sinatra" in small type. It sold around five thousand copies. When Columbia reissued the record in 1943 with the now famous Sinatra given top billing, and "with Harry James and his Orchestra" in small type below, the record was on the best–selling list for 18 weeks and reached number 2 on June 2, 1943.
27:, began a strike against the major American record companies because of disagreements over royalty payments. Beginning on midnight, July 31, 1942, no union musician could make commercial recordings for any commercial record company. That meant that a union musician was allowed to participate on radio programs and other kinds of musical entertainment, but not in a recording session. The
494:: "By about 1942 it was clear to musicians that here was something more than mere experimentation. Here was a new kind of music. Unfortunately, we cannot pinpoint these developments . As a result there are few commercial recordings of any of the bop players during the years they were working out their innovations." As
951:
Acceptance of the
Petrillo demands under virtual duress came after the companies, which had held out for more than a year while their competitors kept recording equipment humming, had despaired of promised Government intercession. Many of the most popular artists at Victor and Columbia had sought to,
900:
Formal contracts between the
American Federation of Musicians and Decca Records Inc. and World Broadcasting System, which were reported in the final stage of preparation on Friday, permit these companies to employ AFM members for the making of phonograph records and transcriptions in exchange for the
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The union refused to budge, and with competing companies having made new recordings for over a year, RCA Victor and
Columbia finally capitulated, agreeing to substantially similar terms as the other recording companies, on November 11, 1944. The new contract with the AFM included language releasing
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In a country which loves democratic government and loves keen competition under the rules of the game, parties to a dispute should adhere to the decision of the Board even though one of the parties may consider the decision wrong. Therefore, in the interest of orderly government and in the interest
54:
Petrillo had long publicly maintained that recording companies should pay royalties. As head of the
Chicago local chapter of the union in 1937 he had organized a strike there. Petrillo was elected president of the American Federation of Musicians in 1940. When Petrillo announced that the recording
38:
for distribution to the armed forces fighting World War II, because V-Discs were not available for sale to the general public. However, the union did frequently threaten to withdraw musicians from the radio networks to punish individual network affiliates who were deemed "unfair" for violating the
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of the 1930s and early 1940s. The strike was not the only cause of this decline, but it hastened the shift from big bands with an accompanying vocalist to an emphasis on the vocalist, with the exclusion of the band. In the 1930s and pre–strike 1940s, big bands dominated popular music; immediately
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radio show, circumvented the ban by having friends in
England send him records produced in the UK, where the ban was not in effect. He was forced to discontinue this practice after the station's house orchestra staged a retaliatory strike, which was settled after WNEW agreed not to broadcast any
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As the strike continued into 1943, record companies bypassed the striking musicians by recording their popular vocalists accompanied by backup vocal groups in place of an orchestra. Columbia had signed
Sinatra on June 1, 1943 and was eager to issue records featuring their new star; the company
151:
Several months passed before any effects of the strike were noticed. At first, the record companies hoped to call the union's bluff by releasing new titles from their large stockpiles of unissued discs, but the strike lasted much longer than anticipated and eventually the supply of unreleased
430:
During the strike, vocalists could and did record without instrumentalists; instrumentalists could not record for the public at all. As historian Peter
Soderbergh expressed it, "Until the war most singers were props. After the war they became the stars and the role of the bands was gradually
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The strike stopped business between major record labels and musicians under contract with them. With recording and manufacturing equipment idle from the strike, enterprising music promoters, record distributors, and store owners with the right connections took the opportunity to start small
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Bernice Judis, general manager of WNEW, and Merle Pitt, director of station staff orchestra, received telegrams from
William Feinberg, secretary of AFM Local 802 in New York, to the effect that the band would not work for WNEW after that date because of the station's use of "non-union made
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The end of the strike was not the end of the royalty dispute, however. As television was beginning, there were questions regarding musicians and royalties from this new medium, and a similar, but much shorter strike was called for 1948, lasting close to a year, ending on
December 14, 1948.
453:
on
December 30, 1942. Sinatra was third–billed on the program and although he was then the most popular singer in the country, Goodman had never heard of him. Goodman announced him and the audience roared and shrieked for five minutes. Goodman's bewildered response was, "What the hell was
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The other major cause of the decline of the big bands was World War II itself—and the resulting loss of band members who were drafted, curtailment of traveling by touring bands because of gasoline and other rationing, and a shortage of the shellac used to manufacture records.
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recordings was exhausted. The companies also reissued several long deleted recordings from their back catalogs, including some from as far back as 1925, the dawn of the electrical recording era. One reissue that was especially successful was
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The strike also had an effect on radio programs that used recorded music, due to the limited number of new recordings available. Radio shows that relied mainly on records found it difficult to keep introducing new songs to their listeners.
530:, with bebop first recorded for the Apollo label in early 1944. All of the recordings of bebop from 1944 to 1945 after the strike were performed for small labels, with the new music only later starting to gain promotion from the majors.
506:), "And so, except for a handful of dedicated collaborators and a few devoted fans, the new music Parker and Gillespie and their cohorts were developing remained largely a secret". However, session dates of specialty labels such as
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Over the long term the record companies were not hurt by the strike. In 1941, 127 million records were sold; in 1946, two years after the strike, that number jumped to 275 million and it jumped higher in 1947 to 400 million.
458:?" Once Sinatra started to sing, the audience continued to shriek during every song. As a saxophone player later said, "When Frank hit that screaming bunch of kids, the big bands just went right into the background."
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Singers. These first sessions were on June 7, June 22, August 5, and November 10, 1943. Of the nine songs released from these sessions, seven charted on the best–selling list. Other recordings made this way included:
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of respecting the considered decision of the Board, I request your union to accept the directive orders of the National War Labor Board. What you regard as your loss will certainly be your country's gain.
442:'s band in 1940, most selections started with a Tommy Dorsey solo. By the time Sinatra left in 1942, his songs with the band began with his singing, followed by any solos by Dorsey or others.
55:
ban would start at midnight, July 31, 1942, most people did not take it very seriously; Petrillo had threatened a strike before and nothing had happened. The United States had just entered
334:, culminating in a WLB directive demanding that the AFM rescind its ban on musicians recording for those companies. When the AFM refused to comply, the matter was referred to President
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subsidiary World Broadcasting System settled in September 1943, agreeing to make direct payments to a union-controlled "relief fund", followed shortly by the recently established
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and Dizzy Gillespie and others during the period of the strike, was not recorded and was not available to the general public because of the strike. James Lincoln Collier wrote in
299:, as they were not a member of the union. The orchestra joined the union (and the strike) in late 1942; this kicked off a long series of live BSO radio concerts broadcast on
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continued recording during the period when the ban was affecting the major labels. Those recordings for the most part showcased the more established styles of jazz,
34:
The strike did not affect musicians performing on live radio shows, in concerts, or, after October 27, 1943, on special recordings made by the record companies for
42:
The strike had a major impact on the American musical scene. At the time, union bands dominated popular music; after the strike, and partly as a result of it, the
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in December, 1941 and most newspapers opposed the ban. By July, when it appeared that the ban would indeed take place, America's big three record companies (
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artists from exclusive recording contracts should the union strike those companies. Within a few hours after signing the new contract, RCA Victor had
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or did terminate their recording contracts with those companies because of the "strike" and the alternative was to sign or go out of business.
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Paul Kingsbury et al., eds. The Encyclopedia of Country Music (New York: Oxford University Press, 1998), p. 6 (Entry for "AFM" by Walt Trott).
414:. Although not lucrative for musicians, these small labels gained them exposure that sometimes led to contracts with more established labels.
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payment of royalty fees by the companies directly to the union, according to A. Rex Riccardi, assistant to AFM President James C. Petrillo.
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Some smaller recording companies did not have an extensive backlog of recordings and they settled with the union after just over a year.
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Peter A. Soderbergh, "Olde Records Price Guide 1900–1947", Wallace–Homestead Book Company, Des Moines, Iowa, 1980, pp.136–137
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A significant moment in the rise of the vocalist occurred when Sinatra performed with
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Robertson, Bruce (November 20, 1944). "Petrillo Victory Seen Affecting Stations".
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Other recording and transcription companies continued to pursue the case with the
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as arranger and conductor for several sessions with a vocal group called the
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Frank Sinatra: The Columbia Years: 1943–1952, The Complete Recordings Vol. 1
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in 1931, and the reissue of his 12-year-old record became a number-one hit.
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Time Magazine's account of the settlement of the second AFM strike in 1948.
829:(4). Washington, D.C.: Broadcasting Publications, Inc.: 14 July 28, 1943.
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One unexpected result of the strike was the decline in popularity of the
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Article discusses second AFM strike which would take place in 1948.
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164:", recorded in August 1939 and released when James' new vocalist,
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following the strike, vocalists began to dominate popular music.
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union's policy on recording network shows for repeat broadcasts.
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Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s
46:
began to decline and vocalists began to dominate popular music.
300:
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Entertainment industry labor disputes in the United States
1099:"Lauritz Melchior Recordings Grouped In Masterpiece Album"
175:" became immensely popular after it was featured in the
31:
remains the longest strike in entertainment history.
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Billboard, July 26, 1947-Whither Disk Biz, Petrillo?
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1023:. Daytona Beach Morning Journal. December 15, 1948
990:Perry Como: A Biography and Complete Career Record
1243:Down Beat magazine article on the start of strike
348:Roosevelt's telegram to Petrillo, October 4, 1944
358:and his orchestra record two songs from the new
1021:"Musicians Flock Back As Ban On Recording Ends"
340:
1205:, New York: Dell Publishing Co., 1978, p. 355.
8:
865:Cooke, James Francis, ed. (February 1943).
890:"Decca Pact Covers Fees Direct to Union".
794:"Radio Station Crew Quits In Record Fight"
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23:, at the instigation of union president
1097:Boals, Col. L. R. (February 18, 1945).
845:"1942–1944: US musicians recording ban"
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482:, the new musical style known later as
16:Strike that began vocalists' popularity
1179:, Oxford University Press, 2009, p.153
943:Broadcasting and Broadcast Advertising
915:Broadcasting and Broadcast Advertising
892:Broadcasting and Broadcast Advertising
822:Broadcasting and Broadcast Advertising
819:"AFM Strike Halts British Disc Plan".
645:
643:
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1254:Time, December 27, 1948-One for Harry
1177:How The Beatles Destroyed Rock'n'Roll
1074:. RCA Victor. c. 1957. Archived from
582:. Oxford University Press, Inc. 2007
449:and his Orchestra at New York City's
7:
1146:Kaplan, James (September 20, 2010).
1127:from the original on October 5, 2010
1335:Presidency of Franklin D. Roosevelt
292:records made after August 1, 1942.
1315:1940s strikes in the United States
1190:Jazz: A History of America's Music
964:Yoakley, Sara (December 1, 1947).
744:"Goodbye, Sue-1944 V-Disc Version"
500:Jazz: A History of America's Music
216:"Have I Stayed Away Too Long?" by
14:
987:Macfarlane, Malcolm, ed. (2009),
466:Lack of recordings of early bebop
1320:American Federation of Musicians
1188:Geoffrey C. Ward and Ken Burns,
21:American Federation of Musicians
1285:1944 labor disputes and strikes
1280:1943 labor disputes and strikes
1275:1942 labor disputes and strikes
1072:"Perry Como-An Early Biography"
338:, who wrote to James Petrillo:
1325:Labour history of World War II
1225:"Savoy session index, 1942-44"
328:National Labor Relations Board
1:
1192:Alfred A. Knopf, 2000, p. 311
898:(13): 9. September 27, 1943.
1148:"The Night Sinatra Happened"
913:"FDR Telegram to Petrillo".
611:"One Year of the Record Ban"
1123:. Big Bands and Big Names.
29:1942–1944 musicians' strike
1351:
993:, McFarland, p. 310,
921:(15): 11. October 9, 1944.
390:specialty labels, such as
1121:"Big Bands Rise and Fall"
879:(2). Theodore Presser: 3.
553:. WTTW-TV. Archived from
297:Boston Symphony Orchestra
238:Sunday, Monday, or Always
689:Peters, Richard (1982).
577:"American Popular Music"
498:and Ken Burns put it in
418:Decline of the big bands
332:National War Labor Board
50:Background to the strike
1310:1940s in American music
1201:James Lincoln Collier,
1101:. Youngstown Vindicator
691:Frank Sinatra Scrapbook
402:" for Apollo featuring
231:Long Ago (and Far Away)
19:On August 1, 1942, the
1305:1944 in American music
1300:1943 in American music
1295:1942 in American music
1270:American music history
1214:Ward and Burns, p. 310
968:. St. Petersburg Times
766:"Where There's A Will"
385:Small specialty labels
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189:recorded the song for
798:The Milwaukee Journal
771:The Milwaukee Journal
472:James Lincoln Collier
336:Franklin D. Roosevelt
288:Make Believe Ballroom
162:All or Nothing at All
1078:on November 20, 2013
867:"The World of Music"
697:. pp. 123, 157.
365:Meet Me in St. Louis
746:. Internet Archives
557:on November 6, 2009
551:"James C. Petrillo"
360:Metro-Goldwyn-Mayer
171:In 1942, the song "
1203:The Making of Jazz
931:Soderbergh, p. 138
617:. 1943. p. 81
492:The Making of Jazz
119:, Crosby (again),
1044:Soderbergh, p.139
1000:978-0-7864-3701-6
695:St. Martins Press
666:978-1-55935-147-8
504:Burns' miniseries
451:Paramount Theater
307:Ending the strike
259:You'll Never Know
147:During the strike
25:James C. Petrillo
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233:" by Perry Como
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173:As Time Goes By
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440:Tommy Dorsey
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376:Consequences
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279:Martin Block
275:
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203:Bobby Tucker
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101:Woody Herman
93:Glenn Miller
89:Guy Lombardo
77:Jimmy Dorsey
73:Tommy Dorsey
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1173:Elijah Wald
1152:Vanity Fair
972:October 29,
804:October 30,
778:October 30,
400:Woody'n You
394:(1942) and
269:Dick Haymes
245:Bing Crosby
187:Rudy Vallée
158:Harry James
137:Spike Jones
133:Dinah Shore
109:Johnny Long
97:Count Basie
85:Bing Crosby
1264:Categories
1158:January 6,
1131:October 1,
949:(21): 15.
850:October 2,
502:(based on
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218:Perry Como
211:Perry Como
191:RCA Victor
182:Casablanca
105:Alvino Ray
61:RCA Victor
1006:April 28,
872:The Etude
832:records."
615:Billboard
480:Ken Burns
424:big bands
129:Kay Kyser
121:Glen Gray
44:big bands
1125:Archived
1082:July 26,
750:July 13,
724:. Kokomo
675:31611854
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330:and the
315:and its
154:Columbia
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1027:July 7,
728:July 3,
561:July 4,
524:calypso
520:R&B
508:Keynote
438:joined
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711:, 1993
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528:gospel
526:, and
516:Apollo
514:, and
478:, and
396:Apollo
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580:(PDF)
534:Notes
512:Savoy
484:bebop
412:bebop
392:Savoy
179:film
69:Decca
1160:2022
1133:2010
1107:2010
1084:2010
1029:2010
1008:2010
995:ISBN
974:2010
852:2014
806:2010
780:2010
752:2010
730:2010
671:OCLC
661:ISBN
623:2010
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563:2010
456:that
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