Word: bmi
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...BMI (for Broadcast Music, Inc.) was born 14 years ago when radio broadcasters decided that the venerable ASCAP (for American Society of Composers, Authors and Publishers demanded too much in performance royalties. As a rival music-licensing agency. BMI had a scrawny infancy: almost all competent U.S. songwriters were members of ASCAP. For a while, until peace was patched up, the networks had to draw heavily on tunes in the public domain-and Stephen Foster's Jeanie with the Light Brown Hair became...
...world where she came to "own" only 75% of herself, with her managers and booking agents owning the other 25%. Above all, it was a world where the click or smash hit was the ultimate goal, where clearance (by payment to publishers' societies ASCAP and BMI) was necessary for permission to play a song on the air; a world where cut-ins (giving a performer a share of a song's profits), hot stoves (open bribes) and other forms of payola were standing operating procedure; a world of concern with P.D. (public domain, the graveyard, or seventh heaven...
Abandoning its first goal of becoming a third party in the ASCAP-BMI feud last spring, the Harvard Association of Songwriters this year plans to run on the Network a program of the songs written for the Hasty Pudding Show which is not being given...
...longer is the exclusive music mill for radio. BMI, into which the radio industry has poured some $2,000,000, will continue as an ASCAP rival...
After a reshuffle, BMI distributed $150,-ooo for radio performances alone to over 1,000 publishers and composers. For radio sheet music and mechanical rights it sent $6,000 apiece to its highest paid trio-Joan Whitney, Hy Zaret & Alex Kramer-who are responsible for So You're the One, It All Comes Back to Me Now and My Sister and I. For You Walked By, Songbirds Bernie Wayne and Ben Raleigh picked up $4,000 each. Franklin D. Roosevelt Jr. and Kenrick Sparrow drew $81.84 apiece for The Rest of My Life...