Record Album

Total Page:16

File Type:pdf, Size:1020Kb

Record Album May 30, 1950 J. K. ROSE 2,509,841 ALBUM FOR PHONOGRAPH RECORDS Filed March 20, 1946 3. Sheets-Sheet RECORD ALBUM N HAWL RCUGAT : May 30, 1950 J. K. ROSE 2,509,841 ALBUM FOR PHONOGRAPH RECORDS Filed March 20, 1946 3. Sheets-Sheet 2 7 E- CHLOE TOMMY DORSEY XAVIERMY CGASHAWL 1. May 30, 1950 J. K. ROSE 2,509 841 ALBUM FOR PHONOGRAPH RECORDS Filed March 20, l946 3. Sheets-Sheet 3 TICO TICO Caes(N) 3. MY SHAWL ?N ~SSSSSSNo.SSSSS§<<<<< Patented May 30, 1950 2,509,841 UNITED STATES PATENT OFFICE 2,509,841 ALBUMFORPHONOGRAPHRECORDS Joseph K. Rose, Chicago, Ill. Application March 20, 1946, Serial No. 655,668 1. Claim. (CI. 283-40) 2 This invention relates to albums for phono Fig. 4 is an elevation of a phonograph record graph records and more particularly to novel in carrying an index tab for use in the album; dexing systems for facilitating the identification Fig. 5 is a fragmentary elevation of the back of the records which are stored in the album. of an album having a modified form of recess The conventional phonograph record album for receiving the index tabs; is of book form with pockets for receiving about Fig. 6 is a fragmentary vertical section of the ten to twenty records, and with a printed form album as seen on the plane of line 6-6 of Fig. 5; on the inside of the front cover for listing the Fig. 7 is a fragmentary elevation of the back of titles of the several phonograph records which another album embodying the invention; are placed in the pockets. These albums and () Fig. 8 is a fragmentary section on the plane their index Systems for listing the records are far indicated by the section line 8-8 of Fig. 7; from Satisfactory for a number of reasons. The Fig, 9 is an elevation, With parts broken away, indexes are not visible from the front of the of a separately formed indexing strip which may record cabinet and the Selection of a particular be attached to the back of an album; record frequently involves the removal of a num 5 Fig. 10 is a fragmentary vertical Section through ber of albums from the cabinet before the al the back of an album with the indexing strip bum which contains the desired record is located. giued thereto, the section being substantially on Furthermore, no provision is made for a change the plane indicated by line O-O of Fig. 9; in the indexing when some or all of the phono Fig. 11 is a similar fragmentary Section show graph records are discarded and replaced by new 20 ing the indexing strip secured to the back of an records. album by spring clips; Objects of the invention are to provide phono Fig. 12 is an elevation of the back of an album graph record albums with indexing Systems on with an indexing strip attached thereto by ten the backs of the albums, whereby the titles or Sion members and clips; names of all of the records in a more or leSS ex 25 Fig. 13 is a fragmentary vertical section of the tensive collection are continuously in view when same on the plane indicated by line. 3-3 of the albums are arranged in conventional mainner Fig. 12; in an album compartment or cabinet. Other Figs. 14 and 15 are fragmentary elevations of objects of the invention are to provide indexing indexing strips of somewhat different types which Systems, and phonograph record albums having 30 have gummed extensions for securing the same indexing Systems, which imay be readily altered to record albums; and when one or more new records are substituted Fig. 16 is a fragmentary elevation of an index for those previously stored in the album. Objects ing strip of a white plastic having slightly rough are to provide indexing Systems for record al ened index spaces on which the record titles bums, and record albums including indexing Sys 35 may be readily Written in or erased. tems, which are characterized by separate pock In the drawings, the reference numeral iden ets or spaces for the reception of index tabs or tifies the front cover of an album having a num title slips for the individual records. Other ob ber of pockets 2 for receiving phonograph records jects are to provide indexing strips for attach 3, the pocketS having serially numbered tabs. 4. ment to record albums, the strips being of pre 40 According to the invention, the indexing system Selected lengths for use on albums of different is arranged. On the back 5 and comprises a plu sizes and record capacities or being of relatively rality of recesses 6 for receiving title slips or in great length to be cut into separate indexing dex tabs individual to the several records in the strips of a desired length or lengths. numbered pocketS 2. The index recesses have 45 identifying numbers 8 corresponding to the num These and other objects and the advantages bering of the pocket tabs 4, there being twenty of the invention will be apparent from the fol record pockets and index recesses in the illus lowing description when taken with the accom trated album. A transparent strip of Celluloid panying drawings in which: ... or other plastic is arranged over the index tab Fig. 1 is a perspective view of a phonograph 50 recesses, and Slots in the rounded edge of the record album embodying the invention; album back 5 afford access to the recesses 6 for Fig. 2 is a fragmentary elevation of the back the insertion and removal of the index tabs T. of the album; The index tabs may be prepared by the Fig. 3 is a fragmentary vertical section of the album owner or by the dealer or distributor but, album as seen on the plane of line 3-3 of Fig. 2; 55 preferably, these tabs 7 are prepared by the re 2,509,84i. 3 4. cording studio and affixed to the paper envelopes 4 by upper and lower Spring clips 2i which are in which the records are purchased Or, as shown of approximately U-shape in cross-section. in Fig. 4, the index tabs may be affixed directly Alternatively, an index Strip assembly 2 may be to the records 3 by small gummed extensions . detachably secured to the album back 4 by upper The printed strip is weakened, for example by a 5 clips 22 which are rigidly fixed to the assembly, row of perforations 2, to facilitate the removal and lower clips 23 which are connected to the of the index tab from the record. The indi assembly 2 by elastic or Spring StripS 24. The vidual index tabs T may be of different colors, in index strip assemblies 29 of FigS. 11 to 13 may be whole or in part, to indicate the general type of of the construction which is shown in detail in the recording as instrumental, operatic or the O Fig. 9 or they may be otherwise formed, as de like. scribed hereinafter, to provide individual spaces The index tabs 7 from the records are placed in for the identification of the Several records the appropriate recesses 6 of the indexing System. stored in the album. when a new album is placed in use, or the index As illustrated in Fig. 14, the indexing strip 25 tabs 7 are prepared by the owner of the album if 15 may be of relatively heavy cardboard With they are not furnished with the records. As molded or embossed recesses 26 for receiving in records are discarded to make room for newer dex tabs which are furnished with the records records, the old index tabs are renoved and re or prepared by the owner of the album. A series placed by new index tabs. The index System is of numbers 8 corresponding to the numbering of thus readily kept up to date, and the desired 20 the album pockets may be printed within Spaces records are readily located by inspection and 8 in line with the recesses 26 or, alternatively, without opening the albums as the indexing the Spaces 8 may be recessed to receive separate systems are on the backs of the albums. number tabs when a single Series of numbers is As shown in FigS. 5 and 6, a Series of receSSeS to be used on a piurality of albums. The en *6 may be molded or pressed directly in the back 25 bossed indeX stirip 25 may be attached to the 5’ of an album, the recesses 6' being of substan album by clips as shown in FigS. 11 to 13 or, as tially the same size as the indeX tabs , whereby illustrated, a relatively wide cover sheet 25' may the latter are securely retained by friction when be glued to or originally formed as a part of pressed into place. ihe indeX tabS may be re the cardboard, the edges of the sheet 25 having moved with a needle or pin when the records are 30 a coating of glue 2 for attaching the index Strip changed and a new index tab is to be inserted, or to an album. a new index tab may be inserted Over the old t is not essential that the guiniined edges ex ane, as shown in the topmost recess 6' of Fig. 6. tend the full length of the indexing assembly A further modification, as shown in FigS. 7 since, as shown in Fig. 15, an index strip 28 may and 8, comprises an indexing System on the 35 be attached to an album by a plurality of gummed album back 5 which comprises a Series of identi extensions 29.
Recommended publications
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • 300-313 – 16 Specifications for Phonograph Record Storage Boxes
    Library of Congress Preservation Directorate Specification Number 300-313 – 16 Specifications for Phonograph Record Storage Boxes This specification is provided as a public service by the Preservation Directorate of the Library of Congress. Any commercial reproduction that implies endorsement of a product, service, or materials, in any publication, is strictly prohibited by law. This Specification is written for L.C. purchasing purposes and is subject to change when necessary. If you are reading a paper copy of this specification please check our website for the most up-to-date version. 1. Composition and Chemical Requirements 1.1 Fiber The stock must be made from rag or other high alpha-cellulose content pulp, minimum of 87%. It must not contain any post consumer waste recycled pulp. 1.2 Lignin The stock must give a negative reading for lignin as determined by the phloroglucinol test when tested according to TAPPI T 401, Appendix F, and shall have a Kappa number of 5 or less when tested according to TAPPI T 236. 1.3 Impurities The stock must be free of metal particles, waxes, plasticizers, residual bleach, peroxide, sulfur (which will be less than 0.0008% reducible sulfur as determined by TAPPI T 406), and other components that could lead to the degradation of the box itself, or the artifacts stored therein. 1.4 Metallic Impurities Iron must not exceed 150 ppm and copper shall not exceed 6 ppm when tested according to TAPPI T 266. 1.5 Optical Brighteners The stock must be free of optical brightening agents. 1.6 pH The stock must have a pH value within a range of 8.0 - 9.5 as determined by TAPPI T 509, cold extraction (modified by slurrying sample pulp before measurement).
    [Show full text]
  • The Form of the Phonograph Record Author(S): Theodor W
    The Form of the Phonograph Record Author(s): Theodor W. Adorno and Thomas Y. Levin Reviewed work(s): Source: October, Vol. 55 (Winter, 1990), pp. 56-61 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/778936 . Accessed: 16/02/2013 21:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org This content downloaded on Sat, 16 Feb 2013 21:53:08 PM All use subject to JSTOR Terms and Conditions The Form of the Phonograph Record* THEODOR W. ADORNO TRANSLATED BY THOMAS Y. LEVIN One does not wantto accord it any formother than the one it itselfexhibits: a black pane made of a compositemass whichthese days no longer has itshonest name any more than automobile fuel is called benzine; fragilelike tablets,with a circularlabel in the middle thatstill looks mostauthentic when adorned withthe prewar terrierhearkening to his master'svoice; at the verycenter, a littlehole thatis at timesso narrowthat one has to redrillit wider so thatthe record can be laid upon the platter. It is covered with curves, a delicatelyscribbled, utterly illegiblewriting, which here and thereforms more plasticfigures for reasons that remain obscure to the layman upon listening;structured like a spiral, it ends somewherein the vicinityof the titlelabel, to whichit is sometimesconnected by a lead-out groove so that the needle can comfortablyfinish its trajectory.In terms of its "form," this is all that it will reveal.
    [Show full text]
  • Chapter 3: "Transferring Vinyl Lps (And Other Legacy Media) To
    3 TRANSFERRINGVINYLLPS(AND OTHERLEGACYMEDIA)TOCD A great way to preserve and enjoy old recordings is to transfer them from any legacy medium—vinyl LPs, cassette tapes, reel-to-reel tapes, vintage 78s, videocassettes, even eight-track tapes—to CD. Or you can transfer them to a hard drive, solid-state drive, or whatever digital storage medium you prefer. Transferring phonograph records to CD is in demand, and you might even be able to get a nice sideline going doing this. A lot of people are still hanging on to their record collections but are afraid to enjoy them because LPs are fragile. A lot of great albums have never been released on commer- cial CDs, or the modern CD remasters are not done well. Some people sim- ply prefer the sound of their old records. Although you can copy any analog media and convert it to any digital audio format, in this chapter we’ll talk mostly about transferring vinyl record albums and singles to CDs. Once you have converted your old analog media to a digital format, Audacity has a number of tools for cleaning up the sound quality. You may not always be able to perform perfect restorations, but you can reduce hiss, clicks, pops, and other defects to quite tolerable levels. You can also customize dynamic range compression to suit your own needs, which is a nice thing because on modern popular CDs, dynamic range com- pression is abused to where it spoils the music. Even if they did it well, it might not be right for you, so Audacity lets you do it your way.
    [Show full text]
  • 30789 18 Baskerville 9E.Pdf
    CHAPTER18 The Digital Age or nearly a century the modern music industry was forged by two then-new F technologies—the phonograph record and broadcasting. In the late 20th century, a third “The future is here. force—digital technology—emerged to shake the industry’s foundations. Digital technology It’s just not widely radically altered not only the business of music but also its creation, manufacture, and distribu- distributed yet.” tion. Furthermore, it changed the very culture of how music is created, with inexpensive tech- —William Gibson nologies to record, present, distribute, promote, and play music, fashioning a unique artistic and commercial digital democracy, which drew mu- sic artist and music consumer closer even as it blurred the boundary between them. Digital’s power was most graphically illustrated in the arena of distribution. The unauthorized digital distribution of music via peer-to-peer (P2P) networks like Napster and Grokster was often cited as the primary force behind the music industry sales slump that began in 2001. Ironically, although these P2P networks also presented a method for legitimate digital distribution via the Internet, record labels, which had reaped a fortune from the sales of CDs for two decades, perceived digital distribution as a threat rather than an opportunity. When Philips and Sony collaborated on the development of the compact disc (CD) in the early 1980s, no one could have predicted the extent to which digital technology, in combination with the Internet (which was still gestating at the time), would revolutionize the music industry. Left: Steve Jobs unveils Apple’s iPod Mini, 2004.
    [Show full text]
  • Woods Hole Oceanographic Institution a Phonograph
    --,­ WOODS HOLE OCEANOGRAPHIC INSTITUTION WOODS HOLE, MASSACHUSETfS Merence No. 50 1 A PHONOGRAPH RECORD OF THE UNDERWATER CALLS OF DELPHINAPTERUS LEUCAS by WILLIAM E. SCHEVILL and BARBARA LAWRENCE January 1950 Approved for distribution C. O'D. Iselin Director ,­ ACKNOWLEDGMENTS We are grateful to many people, including, in Quebec. Dr. Vadim-D. Vladykov of the Department of Marine Fisheries, and Messrs. Robert Lagueux and J.-M. Boulanger of the Tadoussac Fish Hatchery, who assisted us in the field; in Florida, the management of Marine Studios and the Associate Curator, Dr. Henry Kritzler; in Woods Hole. Dr. J. B. Hersey and his assistants, Messrs. Willard Dow and Sydney Knott, Jr.• for contriving and providing equipment, and Mr. Gecrit Duys for patient persistence in making these disks. ,. DelphinaplMus leucas (Pallas), variously called white porpoise, white whale, or beluga, has long been known as a vociferous species. It is an arctic form, generally re­ stricted to waters north of N. Lat. 60°, except along the coast of eastern Asia, where it ranges as far south as the offing of southeastern Sakhalin, and along tl'\e coast of eastern North America, where it is normally abundant to about the same latitudes in the St. Law­ rence estuary. It was in this region, in the lower Saguenay River, Quebec, that our records were made, in July 1949. In these restricted waters we have been fortunate in finding concentrations of Delphinapterus with no other aquatic sound-makers in evidence. For this and other reasons detailed before (1949, Science, Vol. 109, pp. 143-144, Feb. 11 ), we are convinced that all the sounds heard on this record were made under water by DelphinaplMus.
    [Show full text]
  • I Volljme 1 Groove Geometryand
    I VOLLJME 1 GROOVE GEOMETRYAND ,-. T, GROOVE GEOMETRY AND THE RECORDING PROCESS A Groove Geometry B Disk Recording Systems C Cutterheads and Lathes D Styli and Lacquer Blanks E Record Pressing F High- Density Disk Technology G Standards and Invention H Related Reading Volume 2 DlSK PLAYBACK,TESTING,AND PATENT REVIEW to be published subsequently will contain: Disk Playback; Disk Pickups; Tone Arms and Turntables; Testing and Quality Control (Records and Phonograph Cartridges); and Patent Review. preface In 1893, when Emile Berliner first flattened the record- Berliner's first disk record: progress in material selection, in ing cylinder into the now familiar disk, Thornas Edison plating and stamping, in turntable design, in pickup and gave it little chance of succeeding. It was not until 1928 tone-arm construction, in groove geometry, high-density that Edison finally conceded, insuring that the cylinder cutting, and last, but not least, in the cutting lathe. The would take its place among the rnuseurn oddities of the pages in this two-volume anthology tell of this progress past. In a speech given at an Audio Engineering Society and also of the research and developrnent which made convention in 1960, held at the Alexandria Hotel in Los such progress possible. The readers will learn frorn these Angeles, George Brown, head of the thenexisting Arnpex volurnes how audio engineering drew on the rnechanical, United Stereo Tape operation, gave the phonograph rec- electrical, and material engineering sciences to achieve an ord ". five years to get off the rnarket." As a result, many outstanding systern for speech and rnusic reproduction.
    [Show full text]
  • SYMPHONIC LIMITED PRESSING AGREEMENT (For Use by Canadian Orchestras)
    CND Symphonic Ltd. Pressing 1 SYMPHONIC LIMITED PRESSING AGREEMENT (For Use By Canadian Orchestras) ____________________________________________________________________________________ 1. This Agreement is made and entered into by and between the___________________________ (Name of Orchestra - hereinafter called the "Engager") and Local__________ of the American Federation of Musicians of the United States and Canada (hereinafter called the "Local".) 2. The parties hereto agree that the sole purpose of this Agreement is to establish rates and conditions for musicians employed in the production of phonograph records where the aggregate number of units as calculated below does not exceed 3,000 and where the music that is recorded will not be utilized for any purpose whatsoever other than for sale to the public as a phonograph record. Phonograph record shall mean any phonograph record, compact disc, tape or any other device reproducing sound, whether now in existence or which may come into existence. It is further accepted and understood by the Engager that this agreement shall be applied only to the creation of a single finished product. (a) Units shall be calculated as follows: (i) For Physical Product (CD’s, tapes, discs etc.) – one (1) unit, based on the number produced, not on the number sold. (ii) For Digital Downloads – Each download of a complete phonograph record shall count as one (1) unit. Each download of an individual track or portion thereof shall count as one unit divided by the number of total tracks on the phonograph record. (E.g. If the phonograph record is comprised of 6 tracks, each download of one track or portion thereof would count as 1/6th of a unit.
    [Show full text]
  • “New Technology and Music: Evolution to Revolution”
    1st September 1994 National Convention Centre CANBERRA “NEW TECHNOLOGY AND MUSIC: EVOLUTION TO REVOLUTION” Shane Simpson LLB( Hons) M.Jur. Visiting Professorial Fellow Faculty of Law University of Wollongong The mass communication of music is dependent upon technology. Performers now can have international reputations without having to leave their shores. What is more, audiences can enjoy those performances without even leaving their bedrooms. Technology has changed the nature of the music experience from one of personal presence and public participation to one of imagined presence and personal fantasy. During the past two centuries there has been a great change in the means by which music is made available and this in turn has affected the way in which we use music and by which we have music used upon us. If you are in the business of reaching youth, communicating with them, influencing them, music is obviously one of the powerful media available to you. If you are to use it successfully, you must realise that we are in the early stages of a revolution: we have moved out of the mechanical age that has stolidly shaped our last two centuries, out of the electric age and into a digital age, the effect of which we can only surmise. As with all earlier technological revolutions, we are about to experience cultural revolution. © Simpsons Solicitors Telephone: (61 2) 9247 3473 Suite 1202 Facsimile: (61 2) 9247 3442 135 Macquarie Street Sydney NSW 2000 AUSTRALIA 2. You will be part of this revolution whether you like it or not. It will affect both your personal lives and your professional lives.
    [Show full text]
  • Latent Body - Plastic, Malleable, Inscribed: the Human Voice, the Body, and the Sound of Its Transformation Through Technology’
    1 ‘Latent Body - Plastic, Malleable, Inscribed: The human voice, the body, and the sound of its transformation through technology’ Dr Miriama Young, The University of Melbourne This is an Accepted Manuscript of an article published by Taylor & Francis in Contemporary Music Review on 1 February 2006, available online: http://www.tandfonline.com/10.1080/07494460600647477 [Abstract] This article examines, through the grooves of the record disc as a site, the inscription of the human voice onto the recorded medium, and the way recording technology has changed how the listener hears and comprehends the physical body. Recording technology allowed human presence to be captured onto a concrete and tactile medium, and enabled the material object of the recording to then be bought, consumed and privately owned. The political implications, and reactions, to this cultural paradigm are discussed. The article focuses on contemporary practices in popular music consumption, and observes that, in works that involve the voice, the human body and the material object are bound up in manifestations of the cult of celebrity. KEYWORDS: Body, Voice, Technology, Recording, Phonograph, Gorillaz 2 Introduction: Latent Body: Plastic, Circular, Inscribed One does not want to accord it any form other than the one it itself exhibits: a black pane made of a composite mass which these days no longer has its honest name any more than automobile fuel is called benzine; fragile like tablets, with a circular label in the middle that still looks most authentic when adorned with a prewar terrier hearkening to his master’s voice; at the very center, a little hole that is at times so narrow that one has to redrill it wider so that the record can be laid upon the platter.
    [Show full text]
  • Rick L. Pope Phonograph Record Collection 10 Soundtrack/WB/Record
    1 Rick L. Pope Phonograph Record Collection 10 soundtrack/WB/record/archives 12 Songs of Christmas, Crosby, Sinatra, Waring/ Reprise/record/archives 15 Hits of Jimmie Rodgers/Dot / record/archives 15 Hits of Pat Boone/ Dot/ record/archives 24 Karat Gold From the Sound Stage , A Double Dozen of All Time Hits from the Movies/ MGM/ record/archives 42nd Street soundtrack/ RCA/ record/archives 50 Years of Film (1923-1973)/WB/ record set (3 records and 1 book)/archives 50 Years of Music (1923-1973)/WB/ record set (3 records and 1 book)/archives 60 years of Music America Likes Best vols 1-3/RCA Victor / record set (5 pieces collectively)/archives 60 Years of Music America Likes Best Vol.3 red seal/ RCA Victor/ record/archives 1776 soundtrack / Columbia/ record/archives 2001 A Space Oddyssey sound track/ MGM/ record/archives 2001 A Space Oddyssey sound track vol. 2 / MCA/ record/archives A Bing Crosby Christmas for Today’s Army/NA/ record set (2 pieces)/archives A Bing Crosby Collection vol. 1/ Columbia/record/archives A Bing Crosby Collection vol. 2/ Columbia/record/archives A Bing Crosby Collection vol. 3/ Columbia/record/archives A Bridge Too Far soundtrack/ United Artists/record/archives A Collector’s Porgy and Bess/ RCA/ record/archives A Collector’s Showboat/ RCA/ record/archives A Christmas Sing with Bing, Around the World/Decca/record/archives A Christmas Sing with Bing, Around the World/MCA/record/archives A Chorus Line soundtrack/ Columbia/ record/ archives 2 A Golden Encore/ Columbia/ record/archives A Legendary Performer Series (
    [Show full text]
  • Recording Ban, 1942-1944, and Its Effect on Radio Broadcasting
    $7C? /19i it/a, 59 THE AMERICAN FEDERATION OF MUSICIANS' RECORDING BAN, 1942-1944, AND ITS EFFECT ON RADIO BROADCASTING IN THE UNITED STATES THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Master of Science by Mary Austin, B.S Denton, Texas May, 1980 Austin, Mary M. , The American Federation of Musi- cians' Recording Ban, 1942-1944, and Its Effect on Radio Broadcasting in the United States. Master of Science (Speech Communication and Drama), May, 1980, 70 pp. 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. The present study recounts the history of that strike, in- cluding efforts to end it, reactions to it by various government and trade organizations and the circumstances under which it finally did end. The study focuses on the effect of the strike on radio broadcasters, both directly (through recordings they used) and indirectly (through the strike's effects on the recording and related industries), and concludes that it changed the character of radios music somewhat, but had little detrimental effect on radio's profits. TABLE OF CONTENTS Chapter I. INTRODUCTION..................................1 Background Problem Purpose Research Questions Methodology Scope and Limitations Survey of Literature II. FACTORS LEADING TO THE BAN...................6 Growth of AFM Power Development of Recorded Music Encroaching Technology Competition From Radio III. REACTIONS AND EFFORTS TO END THE BAN........19 Government Action U.S. Department of Justice Federal Communications Commission Office of War Information U.S.
    [Show full text]