The Taft-Hartley Act had made it illegal to make demands, but it was not illegal to refuse to ever record again. Vinson who had doubts about his power to impose sanctions Weber saw AFM as standard bearer for quality music, whose primary function was to expose The fund still exists, and is now called the Music Performance Fund (MPF), a tax-exempt non-profit organization that presented over 10,000 free performances in the United States and Canada in 2011.
According to Swing Music Net, the recording of singers resulted in a plethora of mediocre vocal releases. Frank Sinatra was signed to the label, and he was the hottest singer in the land.
and Goodman’s response was, ”What the hell was that?” Once Sinatra started to sing, the audience continued to shriek during every song. Columbia did particularly well with a reissue of All or Nothing at All. doubled and the jukebox industry was booming.  Other recordings made this way included: The strike had an effect on radio shows that used recorded music due to the limited number of new recordings. UNT Theses and Dissertations The matter was turned over to Fred Vinson director of the Under Petrillo's leadership, the AFM took a hard line with broadcasters as well.
https://en.wikipedia.org/w/index.php?title=1942–1944_musicians%27_strike&oldid=987100362, Entertainment industry labor disputes in the United States, Articles with unsourced statements from February 2014, Creative Commons Attribution-ShareAlike License, This page was last edited on 4 November 2020, at 22:33. Petrillo challenged the law by demanding that a studio hire the AFM's minimum number of musicians. The union, the American Federation of Musicians, led by trumpeter James Petrillo, had previously opposed the recording of music, or “canned music”. AFM endorse such
Many musicians were drafted. With If you'd like to upload content to the library which is in line with the aims of the site or will otherwise be of interest to libcom users, please check out our guides to submitting library/history articles and tagging articles. 123, 157. One unexpected result of the strike was the decline in popularity of the big bands of the 1930s and early 1940s. Here are some suggestions for what to do next. Links and search tools for all of the collections and resources available from UNT. For partners and peer institutions seeking information about standards, project requests, and our services. It fostered the growth in independent labels that were to become responsible for emerging Some ETDs in this collection are restricted to use by the UNT community. It sold about five thousand copies. could make commercial recordings for any commercial record company. Some musicians were contributing to their demise by playing on recording, , Over the long term the record companies were not hurt by the strike. One record company ran out of music to release, so they recorded and released Othello. music instead of live performances, the American Federation of Musicians ordered a boycott Record companies initially released material recorded before the strike, and dipped into their vaults when this was exhausted. James Caesar Petrillo, President of the American Federation of Musicians, called a strike effective July 31, 1942, prohibiting union members from making any disc recordings or electrical transcriptions.
into control" AFM simply to satisfy his lust for power. Radio programs that relied mainly on records found it difficult to keep introducing new music to their listeners. Petrillo had long publicly maintained that recording companies should pay royalties. attitudes about popular music and its role in America's cultural life. replaced more expensive live programs dramas and comedies too. public relations firms to put out arguments that only a small percentage of union AFM's International Board believed records Also dance halls and hotels that had been placed on AFM unfair list It was then thought that Petrillo had painted himself into a corner, alienating  However, session dates of specialty labels such as Keynote, Savoy, and Apollo show continued recording during the period when the ban was affecting the major labels. inexpensive, yet profitable disc jockey programs could be. 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 union's policy on recording network shows for repeat broadcasts. Peter A. Soderbergh, "Olde Records Price Guide 1900–1947", Wallace–Homestead Book Company, Des Moines, Iowa, 1980, pp.136–137. improve their bargaining position and protesting the Taft-Harley Act on the union's power. The war had a huge impact on the jukebox industry as Southern workers moved to defense Record companies recorded as much music as they could in the run up to the strike and released this backlog through, but also resorted to re-releasing old recordings. Here was a new kind of music. The strike stopped business between major record labels and musicians under contract with them. Paul Kingsbury et al., eds. licensing group. The American Federation of Musicians' Recording Ban, 1942-1944, and its Effect on Radio Broadcasting in the United States,
sponsoring those among programmers e who wanted to expand into publishing and What you regard as your loss will certainly be your country's gain.
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