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Two Final Threats to Live Performance! News From VHSource, LLC Vol 9 September 2012 Two Final threats to Live Performance! could sell more beer and spirits if they provided Birth of Radio and Television additional entertainment for the men of the town by rom the beginning of time until the 1890s, live featuring a piano player and girls performance was the only choice to be made by (dancers/singers/whatever). Women had their pianos Fan individual looking to be “entertained” or “up in the parlor, their quilting/sewing bees as well as lifted” or “removed from everyday life.” Such a choice community dances. was totally dependent on where you lived and your financial condition. The Greeks had their theatre and It was during the Industrial Revolution (1750-1850) dance which all who lived nearby were free to attend. that humans in general began to seek “fun” as an The Romans had their chariot races and gladiator actual goal. See, VHS newsletter, Vol 5 May 2011 games in any town large enough to have a “Circus or “Mankind Learns to Play” for a greater in-depth look at Colosseum” (as such arenas were called) also free to this phenomenon. By the 1830s, the American working those living nearby. Through all of time, the more or middle classes who could afford a low ticket price wealth you had, the better your seat. saw an increase in local rudimentary theatres/performance spaces where the tours of Outside of the two great classical cultures, the lower minstrel troupes, dramatic plays, or even the classes had free fun with a community dance or occasional full orchestra (The Thomas Orchestra – gathering. European villagers could enjoy a religious 1864-1889) began to stop by while on “tour.” If passion play (15th century) or the Italian Commedia these same working/middle class folk happened to dell’arte (16th century), both of which generally live in a big city such as New York, Chicago, toured from village to village, often performing Philadelphia, Pittsburgh, Boston, San Francisco, and th outdoors for any and all who stopped by. The St. Louis during the last three decades of the 19 audience might be asked to contribute by way of century, then these theatres were becoming more and passing of the “hat,” but that usually came after the more ornate as the local wealthy (primarily, business event and was fairly voluntary. Those with a little men) began to compete for the bragging rights of spending money in London could join the wealthy in having helped build the latest and most impressive attending a Shakespearean play (16th -17 th century) by theatre or concert hall in their locality. Of course, standing during ornate and beautiful the entire play in also equated with the area set aside greater ticket prices. specifically for the “groundlings.” With regards to the rich Across America as – primarily, European well as Europe, nobility – once they the keepers of the came into existence, local bars or their ornate homes or saloons quickly “palaces” served as Early 1920s Radio learned that they their entertainment Very early TV 2 News From VHSource, LLC Vol 9 September 2012 venues, although they were certainly not exempt from totally free use of any sheet music they could lay the “building the biggest opera house or concert hall” their hands on. They paid only minimal, if any, fees syndrome. They sponsored their own acting and to a performer to sing and/or play. Victor Herbert dance troupes, their own orchestras, their own singers, and John Philip Sousa were among the first even their own composers, etc. – in short they did composers to see the problem with this “usage.” It most everything “in-house.” would take them long hours of talking in Washington until Congress passed the U.S. Copyright Law of The bottom line? These performances were all “live” 1909 which incorporated the term “mechanical and local. Ergo, the level of competition for attention rights” into the language to cover the unfair practice stemmed only from how many such “live” venues of neither asking nor compensating the composer for were in close proximity and your financial/class his/her work in the making of any recording. status. The little village had one venue perhaps or was simply close to a town that had one. The bigger the Last month we explored the next major threat to town, the more venues and competition. In the case of “live” performance to arrive on the scene – the early the nobility, there was little competition beyond their beginnings of the “film” industry. “Moving pictures” wealthy relations, and besides they weren’t selling were a huge novelty introduced primarily to tickets anyway – they were simply entertaining Americans during the Columbian Exposition of themselves. 1893 in Chicago. See VHS newsletter Vol 8 August 2012, “Creativity Runs Rampant, The Birth of the Film In the VHS Newsletter Vol 3 March 2011, “Let the Industry,” for a closer examination of this industry. By New Age Begin,” we explored the first real threat to the time Nickelodeons began sprouting up after 1905, live performance in the birth of the “recording” the cost of this entertainment was suddenly only $.05 industry. Once that industry moved into the recording (the “nickel” of the name) as compared to a couple of of music – even 1 minute’s worth – composers, dollars for a live performance. Again, was this a producers, and performers could see that this threat? Only if one truly believed anything would phenomenon might not be good for “live” business. ever come of these “moving pictures.” By the 1920s, that question was soundly answered, and the threat By 1900, cylinder producers had perfected the “3 was full blown as film became firmly established. minute” offering and were not shy about recording Soon “moving pictures” began pulling audiences anything and everything they felt like recording. The from “live” performances, especially as long as the business everyone was concerned about was the sale movie ticket cost remained far lower than the live of “sheet music” or the hard copies of a composer’s theatre ticket price – a condition that continues to this songs. This sheet music industry provided composers day. with the primary means of making actual money from their work. If you wanted to play a song at home, you This month we take a look at the beginnings of the bought a copy of the next two threats to “live” performance solely because sheet music. both radio and television had their origins pre-1930 Fortunately, the player and would quite quickly prove to be the primary devices for recorded danger for the world of “live” entertainment – cylinders cost a bit of another phenomenon existing right into our time in money. Was this a 2012. Attending a film would safely remain an event threat? Perhaps. to attend outside of the home until the last 5-20 years with the advent of cable, iPads, Kindles, Nooks and The major portion the Netflix. However, radio and television would very recording producers left quickly settle directly into the home and make out of their production entertainment simply a dial away for even the poorest cost equation was families. “permission of the Herbert and Sousa with new copyright holder” and Just as many inventors contributed to the recruit Irving Berlin in Washington circa 1908 their costs reflected a development of film and appeared to spend far more 3 News From VHSource, LLC Vol 9 September 2012 time and effort squabbling over who did what when, used that sound (a “spark gap”) to generate sounds so the same observation applies to the development of which could be detected up to 500 meters away - radio which stems from early work on the telephone. again without a wire to carry them. His work led We haven’t mentioned the telephone per se since it is eventually to that crystal radio detector which would not really a vehicle of performance, although some be used for the world's first radio transmitter and might dispute that. The invention of the telephone receiver. involved yet another set of multiple, competing individuals, but most sources seem to agree that Of course, Thomas A. Edison (1847-1931) and his Alexander Graham Bell (1847-1922) was awarded Edison Laboratory employees at Menlo Park, New the first patent by the American authorities on an Jersey, were working in the same field and applied in electric telephone in 1876. That patent became the 1885 for a patent on an electrostatic coupling system basis for all succeeding telephone patents in America. between elevated terminals. Again, we find strange We raise this date as radio seems to have developed terminology but the patent was on non-connected directly from both work done on the wired telegraph terminals (wireless). This particular patent was to systems (1855) as well as the telephone itself. become so important that the Marconi Company would later purchase its rights from Edison simply to According to Wikipedia, the first avoid lawsuits. name that surfaces with regards to radio is David Edward Hughes In St. Louis, Missouri in 1893 Nikola Tesla (1856- (1831-1900) a British scientist, 1943) was making devices for his experiments in professor of music, musician electricity and in an address that same year to the (harpist) and inventor who is Franklin Institute (1824) and the National Electric credited with inventing the first Light Association (1885), Tesla described all the commercial telegraph system in elements which would eventually be used in radio 1855. He then moved on to the systems prior to the invention of the vacuum tube. David Edward carbon microphone, teleprinter, NOTE: Tesla was constantly at odds with Edison over who Huges spark-gap radio, crystal radio as did what when in the field of electricity.
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